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Th e Antiquihes of the Spani: Arabs have, for many ages, continued unheeded or unknown. The annals of past centuries
scarcely deign to mention them and the descriptions of modern pens but imperfectly supply the place of the pencil.
Accurate deUneations, so essenJ to render them intelligible, might have been expected from the enlightened natives of the
Peninsula, whose artists and a.quarians have vied with the most celebrated of other countries. The task, however, was
supinely deferred, or feebly atmpted, while prejudice, the sad inheritance of nations, was actively employed in demohshmg
the works of infidels, whom i(vas accounted both pious and popular to deride.

The suffrages of the discerKig few, and especially of Bayer and Casiri, at length contributed to remove, or at least to
mitigate, this prejudice, and t arrest the progress of destruction. In consequence of the representations made by these pro-
foundly learned and virtuous ,en, the Royal Academy of St. Ferdinand was commissioned by the Spamsh Government to
send two architects under th(direction of a Captain of Engineers, with instructions to make drawmgs of the Palace of
Alhamri, and of the Mosquaf Cordova. After a lapse of several years, the .joint labours of the three Academicians were
published at Madrid, in the ;ar 1780, m a folio volume intituled, Antiguedadas Arabes de Espana ; containing about six-
teen plates of Arabic design, together with a few pages of letter-press. Some of the inscriptions in this publication were
translated by the accurate Oiri. Such was the greatest progress made, to the end of the eighteenth century, in exploring
the antiquities of the polhed and enlightened people, who occupied the Peninsula, during a period of nearly eight
hundred years.

The interesting but impffect descriptions of the remains of Arabian Art, exhibited in the volumes of some modern tra-
vellers, as existing in the oce renowned Moliammedan cities of Granada, Cordova, and Seville, excited in the author an
ardent desire to vkit them He accordingly embarked for Spain, and arrived at Cadiz early in May, in the year 1802 ;
whence he proceeded to Canada, through lower Andalusia.* The Governor of the AlhamrS, desirous that the knowledge
of its splendid architectura remains should be accurately transmitted to posterity, obligingly facilitated the author s access to
that royal palace, at all hurs of the day ; while he was employed in the agreeable task of measuring and delineating its
interior works. Equal fa.lities were offered at Cordova, the remains of whose celebrated Mosque and Bridge are delineated
in the former part of the resent volume. Seven years were unremittingly devoted to these delightful pursuits ; and since
the author's return to Engand in 1809, nearly seven years more have been wholly given to preparing for publication the
present work.

The admirers of the Ats are here presented with the resuk of fourteen years continued labour, executed at an expense of
'many thousand pounds ;-in the hope that, by the union of the graphic art with the descriptions of the engravings annexed,
such facihties will be aforded, as shall enable the reader to form an accurate estimate of the very high state of excellence,
to which the Spanish ^rabs attained in the Fine Arts, while the rest of Europe was overwhelmed with ignorance and
barbarism.

* In iustice to the memory of n eminent and noble patron of the Arts, the late Earl of Bristol, the author with pleasure records, that his Lordship had it in contemplation to
.end twt Roi: ardsTsTo Jranda, to make designs o'fthe Palace of Alhamr., and to publish them at his own expense. The Earl of Bristol rehnquished the .dea, only on
being informed by the letter of ariend who was visiting that city, tliat the author had anticipated his munificent intention.

A TABLE OF THE PLATES

PART L

DESCRIPTION OF ANTIQUITIES AT CORDOVA.

Fiatc.

I. Pliin of the Mosque of Cordova in its original State
II. Plan of the Mosque of Cordova, in its present State -

III. Elevation of tlie Mosque at Cordova

IV. A View in the Garden belonging to the Mosque at Cordova
V. A General View of the Interior of the Mosque at Cordova

VI. Elevation of the Gate of the Sanctuary of the Koran
VII. Exterior Angle of the Mosque - - . _

Vni. A Cufic Inscription in the Place appropriated to the per-
formance of Ablutions in the Mosque at Cordova
VIII. No. 2. A Cufic Inscription on the Additicnis made to the
Mosque, by order of the Khalif Alhakam
IX. The Bridge of Cordova - - - . _

PART II.

A DESCRIPTION OF ANTIQUITIES AT GRANADA.

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XI
XII
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XIV.
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XX.
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XXII.
XXIII.
XXIV.
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XXVII.
XXVIII.
XXIX.
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XXXII.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.

XLT.

XLII.
XLIII.
XLIV.

XLV.
XLVI.

The Royal Palace and Fortress of Alhamra, at Granada
A General Plan of the Fortress of the Alhamra
A Ground Plan of the Royal Palace of Alhamra
The principal Entrance to the Alhamra
The Gate of Judgment - - - .

Elevation of the Ancient Gate of Judgment
Porch of the Gate of Judgment

A Section of the Gate of Judgment ...
Elevation of the Puerta del Vino
Plan and Section of the Great Cistern
The Hall of the Baths ....
A Section of the Hall of the Batlis
Ceiling- of the Hall of the Baths

The King's Bath - . . . .

The Queen's Bath - - - . .

Concert Room of the Baths
A Section of the Baths in the Alhamra
A Ground Plan of the Baths in the Alhamrfi
Elevation of a small Portico near the Chapel
North side of the Pateo del Agua, or Great Fountain
Elevation of the Portico on the North Side of the Pateo
del Agua

A View of the South Side of the Pateo del Apua
Elevation of an Alcove in the Pateo del Aaua
A Perspective View of the Court and Fountain of Lions
Elevation of the Fountain of Lions
Plan of the Bason of the Fcnmtain of Lions
Side Elevation of the Lions' Court and Fountain
Entablature in the Court of the Lions
Hall of the Two Sisters - . . .

Hall of the Abencerraoes - . . _

A Perspective View of the Golden Saloon, or Hall of

Ambassadors - - . . _

Section and Elevation of the Interior of the Golden Saloon
A Moorish Battle- Piece, from a Painting in the Alhamra
A Lion-Hunt, from an Arabian Painting in the Alhamra
A Boar- Hunt, from a Painting in the Alhamra
An Arabian Council, from a Painting in the Alhamra
Moorish Costumes, from an Arabian Painting- in tlie
Alhamra - - . _ _

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Plate.

XLvn.-i . 1

T7T ir f Arabian Vasind Niches, preserved in the Alhamra
ALV i ! i. J

XLIX. Mosaic Pavem in the Dressing- Room of the Sultana
L. Mosaic OrnaaJ in the North Side of the Lions' Fountain
LI. Mosaic OrnamLi the South Side of the Lions' Fountain
LII. Mosaic in Dadf the Hall of the Two Sisters
LIII. Mosaic in Dadclthe Door of the Hall of the Two Sisters
LIV. I\losaic in Dadd Recess in the Hall of the Two Sisters
LV. Mosaic in the H^of the Abencerrages
LVL Mosaic in Dado ^Vindow, in the Golden Saloon
LVILi

LVIII I -^^^^'""^^ Dac^f \\^indow, in the Golden Saloon

LIX. Mosaic in Dado o^alcony, in the Golden Saloon
LX. Ceiling of Gallery! the Golden Saloon
LXL Mosaic in Dado o|^lndow, in the North Side of the
Golden Saloon -
LXII. Mosaic in Dado of ^East Side of the Tower of Comares
LXIII. Mosaic in Portico o|k; Generalitfe
LXIV. A Mosaic Dado, frda Fragment in the Alhamra
LXV. Various Mosaics, frqthe Alhamra

LXVI. An Arabian Ornamel at the Entrance of the Tower of
Comares - |_
LXVII. Ornament in the Waltit the Entrance of the Tower of
Comares

LXVIII. Ornament in the Sidef Doorway, at the Entrance of
the Tower of Comai - - . _

LXIX. Pannel Ornament in tl Side of Doorway, at the En-
trance of the Tower Comares _
LXX. A Celling {n Outline, {the. Tower of Comares
LXXL An Arabian Ornament ;the Tower of Comares
LXXII. Ornament in the Golderialoon, or Hail of Ambassadors
LXXIII. 1 Ornaments in the Wallf two Windows, in the North
LXX IV. j Front of the Golden Qoon
LXXV."j

!f^l\ \ ^'"""^""^^ ^^'"^ Sides o>,Vindows, in the Golden Saloon
LAA VII.j

^ ^T""^ Ornament and iWbesque, in the Alhamra
t\ V V ^ ^""""'^ Ornament and I,criptions, in the Alhamra
LAAA. Cufic Inscriptions in the Glden Saloon, or Hall of Am-
bassadors - _ | _

}fl^^- ^ascriptions and Orn.1ent, in the Golden Saloon

LAAAII. Cufic Inscriptions in the Gden Saloon
LXXXIII. The first Six Verses of the Inscription on the Bason of

the Fountain of Lions . _ _ _

LXXXIV. The last Six Verses of the iscription on the Bason of

the Fountain of Lions ■ _ . .

T^™y- I"^c' iptions on the T(^er of Comares

LA AX a. Pannel Ornaments and Insclptions in the Hall of the
Two Sisters

J^XX^Ju. ^=-^1'— P-ts and Orients in the ilham a '
T V '."^f ^^'P'^''^' ""^ - Alhamra .

11' f Z"" ^^'1'-^ of:Jeneraliffe, at Granada

AC. A Ground Plan of the Gener^ife, at Granada
XCI Elevation and Ground Plan oithe Portico of the Gene-
raliffc, at Granada

ifrn!' t ^"^'^^^'^ Generaliffe " -

XC V t " Vi"- the Generalifte

XCIV. A Ceihno- the Generaliffe

XCV. A Perspective View of the Gari„ of the Generaliffe
XCVI. Elevation of the Casa de Carbo,, or House of Charcoal,

at Granada
XCVn. Plan of the Casa de Carbon

page, column.

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THE

ARABIAN ANTIQUITIES OF SPAIN.

PART I.

A DESCRIPTION OF ANTIQUITIES AT CORDOVA.

PLATE I.

PLAN OF THE MOSQUE OF CORDOVA, IN ITS ORIGINAL STATE.

This noble specimen of Arabian Architecture was begun by
Abdurrahman I. and finished by his son and successor, Hi-
sham ; subsequent khaUfs of Cordova enlarged the building
as often as the increase of population required^ until it assumed
the general form in which it now appears/'' The mosque is
of a quadrangular form, six hundred and twenty feet in length
from north to south, and four hundred and forty feet in
breadth from east to west ; it was originally surrounded by
four streets, which were designed to prevent any other build-
ing from coming in contact with it. Of the twenty-one doors,
which it is said to have originally had, five only are now
remaining ; they were all covered with brass plates of most
delicate workmanship.

Of the six hundred and twenty feet, which compose the
length of the mosque, two hundred and ten were appropriated
on the north side, to the formation of a court, communicating
by means of a gate of modern erection, and known by the
appellation of the Gate of Pardon. Nineteen aisles, each of
about three hundred and fifty feet in length, by fourteen feet
in breadth, run parallel from north to south througli the in-
terior of the edifice ; and a similar number, not quite so
broad, extends from east to west. These aisles are formed
by an immense number of columns, the arrangement of which
produces a most striking effect, that must have been still more
magnificent, before the building underwent any alterations.

Explanation of the References in the Plan.

A. The Maksw'a, or sanctuary, that is, the prhicipal apartment in which the Koran

was deposited. At present it is a chapel belonging to the Conde de Oropesa,
and is usually called the Za7icarron.

B. The place where the pulpit stood, from which the Mufti explained the \a.w to the

Moslems. The pulpit itself, during the time when the mosque was in all its
splendour, was co mposed of ebony, sandal, aloes, and other most precious
woods.

* For an historical account of the Mosque at Cordova, the reader is referred to the " History
of the Mahometan Empire in Spain," Part I. Chap. V. Sect. 1. pp. ITS — 183; where it is de-
scribed from the narratives of contemporary Arabian writers, who had seen it in all its splendour.

C. The lodgings of the priests, and other attendants belonging to the mosque. They

are now converted into chapels.

D. The Mikrab, or cliancel, which was entered only by the Imams or priests, and

other persons engaged in the sacred office.

E. The part which separated the great men from the rest of the people.

F. Four columns, in the centre of which the Khalifs took their seats.

G. The place appropriated to the people.

H. Additions subsequently made to the edifice.

I. Doorways or entrances, originally twenty-one in number, according to some

Arabian authors ; though others assert that there were not more than nine.
All the doors, however, wei'c covered with the choicest Andalusian brass, in
the richest profusion.

J. The space allotted for the performance of ablutions, previously to entering the
mosque.

K. The Portico, where the Arabians left their habouches, or slippers, when they en-
tered the mosque.
L The Garden of the mosque.
M. Fountains.

N. Cisterns or reservoirs of water.

The faint line, which goes round the whole plan, exhibits
its outer wall or boundary, — a low and massive structure,
crowned with crenated battlements.

PLATE XL

PLAN OF THE MOSqUE OF CORDOVA IN ITS PRESENT STATE.

After the conquest of Cordova in 1236, St. Ferdinand con-
verted this mosque into a cathedral ; and it preserved its
ancient plan until the time of the Emperor Charles V. Jn the
year 1528, the Spaniards began to disfigure its symmetry by
modern erections, which continued to be made in succeeding
reigns, in order to convert it more effectually into a temple for
celebrating the solemn rites of the Christian religion; by which
injudicious scheme both the Moorish and Christian architec-
tures are deprived of everything like unity of design. In vain
have remonstrances been repeatedly made at different times, by
the lovers of the arts, nay, even by royalty itself, against these
misplaced and tasteless alterations. Regardless of these repre-
sentations, the Chapter of the cathedral have, to the present
time, persisted in retrenching from the details of the interior,
or in adding others executed in a totally different style. Of
this description is the choir, erected in the centre of the whole

A DESCRIPTION OF ANTIQUITIES AT CORDOVA.

edifice ; and which, as Mr. Swinburne has justly remarked,
were it in any other church, would deserve great praise for
the Gothic grandeur of the plan, the loftiness of its dome, the
exquisite carving of the stalls, and the elegance and high
finishing of the arches and ornaments. But, placed as it is in
the middle of the Arabian structure, it destroys all unity of
design ; darkens the rest ; and renders confused every idea
of the original general effect of the building.

Many are the chapels, erected in various parts between the
pillars ; which indeed form so many distinct churches in the
midst of the old cathedral, interrupt the enfilade, and block
up the passage. In one place, columns have been removed,
in order to adorn these same chapels: in another, we are
credibly informed, pieces of the beautiful timber- work, that
supports the roof, have been taken away for the purpose of
making musical instruments, especially guitars, for which use
this kind of wood has been recommended, as being pecu-
liarly proper! ! ! It may readily be conceived, how such vile
spoliations as these, repeated too for successive centuries,
must have altered the original simplicity of the mosque ; yet,
notwithstanding all these impediments, the spectator cannot
fail to be struck with admiration, on beholding the interior
of this magnificent structure, in which the oriental style is
every where the prevailing characteristic. No coup-d'oeil, it
has justly been remarked, can be more extraordinary than
that taken in by the eye, when placed in such parts of the
church as afford a clear view down the aisles at right angles,
uninterrupted by chapels and modern erections. Equally
wonderful is the appearance, when the spectator looks from
the points, which present to him all the rows of columns and
arches in an oblique line.

As the preceding Plate exhibited a view ol the mosque,
such as it was planned by Abdurrahman I. , who was fortunate
enough to meet with an architect capable of carrying his
sublime ideas into execution, it may not be displeasing to the
lovers of the Arts, to have another plan of the same edifice,
in which its various additions and alterations are delineated.

Explanation of the References to Plate II.

A. The Dean's gate.

B. Another gate.

C. The Hall of Ecclesiastical Audience.

D. The Gate of Pardon.

E. The Inspector's chamber.

FF. Bureaus or desks, belonging to the Chapter,

G. The Gate of the great drain.

H. The Hall of Tithes.

I. The Gate of the round grate.
K. St. Catherine's gate.

L. Outer line of the chapels.

M. A spacious passage.

N. Outer line of the old building.

O. The Tower of the mosque, which contained the Zancarron, or sanctuary of the
Koran.

PPP. The Garden of the Mezquita or mosque, of which a partial view is given in
Plate IV.

QQ. The body of the Cathedral, where divine service is publicly performed.

The subjoined figures refer to the other parts of the edi-
fice, including the Chapels :

1. The Chapel of Christ in an agony.

2. The Chapel of Saint Ambrose.

3. The Chapel of Saint Augustin

4. The Gate of Saint Stephen.

5 The Chapel of our Lady of the Snow (Capilla de Nuestra Sehora Nevada ).

6. The Chapel of Saint Simon and Saint Jude.

7. The Chapel of our Lady of the Conception.

8. The Chapel of Saint Antony, abbot.

9. The Chapel of the Holy Trinity.
10. The Chapel of Saint Acacius
n. The Door of Saint Michael.

12. The condemned Door.

13. The Chapel of Saint Lawrence

14. Door belonging to the Bishop's palace.

15. The Chapel of Saint Ildefonso.

16. The Chapel of Saint Bartholomew.

17. The Chapel of Saint PhiUp and Saint James.

18. The Chapel of Saint Peter, usually called del Zancarron.

19. The Chapel of the Eucharist.

20. The Chapel of Cardinal Salazar, at present the Great Sacristy. •

21 . The Chapel of Santa Ignez.

22. The Chapel of Saint Antony.

23. The Sacristy del Punto.

24. The Chapel of the Incarnation.

25. The Chapel of Saint Clement, now used as a Chapter-house.

26. A parochial Chapel, with its Sacristy.

27. The Chapel of Saint Helena. *

28. The Chapel of the Patron Saints, Accidus and Victor.

29. The Chapel of the Resurrection.

30. A parish door.

31. The Chapel of the Assumption.

32. The Chapel of the Nativity.

33. The condemned Door.

34. The Chapel of Saint Joseph.

35. The Chapel of the Conception.

36. The Bishop's Chapel.

37. The Chapel of the Annunciation.

38. A Door.

39. The Chapel of Saint Nicholas, bishop.

40. The Chapel of Baptism.

41. The Chapel of Saint John the Baptist.

42. The Chapel of the Conception.

43. Door de los Juanes.

44. The Chapel of Saint Anne.

45. The Chapel of Saint Antony of Padua.

46. The principal Parish door.

47. The Chapel of the Descent from the Cross.

48. The Chapel of Saint Ursula.

49. The Chapel founded by the Inca, Garcilasso de la Vega, whose remains are

interred therein.

50. The Chapel of our Lady of the Rosary.

51. The Chapel of the Epiphany.

52. The Chapel of Saint Michael.

53. The Chapel of our Lady of Antigua.

54. The Chapel of the Magdalen.

55. The Chapel of Saint Stephen. x

56. The Chapel of Saint Eulogius.

57. The Gate of Blessing-.

58. The Altar of the Holy G uardian Angel.

59. The Altar of Saint Christopher.

60. The Altar of Saint Barbara.

61. *******

62. The Altar of the Holy Cross.

63. The Altar of Saint Philip and Saint James.

64. The Altar of Saint Mary.

65. The Altar of Saint Lucia.

66. The Altar of Christ del Punto.

67. The Altar of Saint Antony of Padua.

68. The Altar of the Incarnation.

69. The Altar of Saint Andi ■ew.

70. The Altar of the Conception.

PLATE III.

ELEVATION OF THE MOSQJJE AT CORDOVA.

Each of the four fronts of this beautiful edifice, exhibits low
walls, remarkable for their solidity, all of which are crowned
with crenated battlements. Each of these fronts, however.

A DESCRIPTION OF ANTIQUITIES AT CORDOVA.

differs from the other, by its height and ornaments. Our view
presents a correct elevation of the building : the massive
structure of the walls, and die crescent or horse-shoe form of
the arch, which mark the first of the three periods into which
the Moorish architecture is divided, are here seen to consi-
derable advantage ; while the sohdity of the whole is relieved
by the light appearance imparted by the battlements.

PLATE IV.

A VIEW IN THE GARDEN BELONGING TO THE MOSQUE AT CORDOVA.

The garden, attached to the mosque, occupies an inclosure
of about two hundred and ten feet in front of the building, —
nearly one-fourth of the entire space appropriated to it.

This garden is surrounded, on three sides, by a portico
supported by seventy-two columns : and a refreshing cool-
ness is constantly maintained here by the water of three
fountains, with which the Moslems anciently performed their
ablutions, as well as by the delightful shade afforded by a
great number of cypress, palm, and orange trees. It is, in
fact, a kind of garden in the air, raised over a vast cistern.
Four or five feet of earth suffice for the support and growth
of those beautiful trees ; among which, there are numerous
orange trees, from thirty-five to forty feet in height, and palm
trees, sixty feet high. In the centre of this perpetual verdure,
and in front of the mosque itself, which forms the fourth or
northern face of the garden, stands a square tower, containing
numerous windows, and terminated by a cupola or rotunda.
It serves as a steeple. All the apertures in this kind of cloister
are erected in the Roman style of architecture, and are orna-
mented with upwards of one hundred columns.

This garden is the most agreeable promenade of Cordova :
its principal gate, termed the Gate of Pardo?i, is of modern
construction.

PLATE V.

A GENERAL VIEW OF THE INTERIOR OF THE MOSQUE AT CORDOVA.

Nothing can be more striking than the view presented to the
spectator, on his first entrance into this magnificent temple ;
which has, not inaptly, been compared to a forest of columns
disposed in the form of a quincunx. The principal lines, or
features, of its internal distribution, are formed by the thirty-
eight aisles or naves, delineated in Plate I. and described in
page 1.

An eye, accustomed to the lofty and imposing appearance
of our splendid churches, views with surprise the humility
of this mosque : for the height, from the floor to the ceiling,
is only thirty-five feet. In the language of fiction, the former
might be attributed to a race of giants, and the latter to a
generation of pigmies : but the same principle of attention to

the interior, regardless of the general external appearance,
which marks the other Moorish structures, is here distinctly
to be observed. While pubhc utility has studiously been
provided for, all that was costly and curious has been reserved
for the interior : and the mind, upon examination and reflec-
tion, remains satisfied with the appearance of strength, con-
venience, and grand simplicity.

The columns at present are about eight hundred and fifty
in number; and are formed of granite, porphyry, jasper, and
other marbles, exhibiting an assemblage of various and bril-
liant colours. The whole, taken together, presents a scene
so truly unique, that the visitor is at a loss, whether to admire
most their number, or their richness : but, from the variety
of styles prevailing in the different parts of which these
columns are composed, it is evident that they originally
belonged to different nations and ages. Many of them were
taken from Roman edifices ; which being of various lengths,
the Arabian architect supplied the want of a sufficient quan-
tity of capitals and bases, by imitating those which were before
his eyes.

The columns are all nearly of an equal length, being about
nine feet between the base and the capital : the thickness of
the shaft is pretty equal throughout^ being about eighteen
inches in diameter. The Capitals were, originally, of the
Corinthian order, and were beautifully sculptured, as would
appear by the few that are still entire ; and such capitals, as
were supplied by the Arabian architect, are for the most part
imitations of the same order. From these capitals rise arches,
which spring from one inter-columniation to another; and,
from their crescent, or horse-shoe form, as well as the ara-
besques, inscriptions, and other embellishments, present an
entirely Oriental character. Above the first arch is placed a
second, considerably narrower, and connecting it with the
square pillars that support the timber- work of the roof, which
is not less curious in its execution than the other parts of the
building. It was put together in the time of Abdurrahman I.,
and subsists to this day unimpaired, though partially con-
cealed by the plaster-work of the modern arches. The beams
contain many thousands of cubit feet : the bottoms and sides
of the cross-beams have been carved and painted of various
colours, principally red, and with different figures ; the rafters
also are painted red. Such parts as retain the paint, are un-
touched by worms : the other parts, where the paint no
longer remains, are so little affected that the decay of a thou-
sand years is scarcely perceptible ; and, what is rarely to be
seen in an edifice of such antiquity, no cobwebs whatever are
to be traced here. The wood employed for the timber- work,
is that of the alerce, a species between the cedar and the pine
(the Pi?tiis Larix or White Larch, we believe), which is re-
puted to be incorruptible. The vicinity of Cordova formerly
abounded with this kind of trees, a forest of which is said to
have stood on the west bank of the Guadalquivir; though
not the smallest vestige of it is now to be found. The timber

* Some of these were brought from the ruins of Carthage ; and by one of those remarkable
instances of mutability, which occur in the history of nations, vestiges of the colony founded by
Dido are to be seen, in the nineteenth century, supporting an Arabian temple in Spain !

A DESCRIPTION OF ANTIOUITIES AT CORDOVA.

work of the roof is further covered with lead : and the whole
has been executed w4th such precision and taste, that it may
justly be pronounced a chef-d'oeuvre of art, both with respect
to the arrangement of its different parts, as well as to the
extent and solidity of the whole.

On a slight inspection of Plate V. it may perhaps strike
the observer, that the general effect would have been im-
proved, and the perspective heightened, by the introduction
of a little more light from above : but, had such a correction
been made, our engraving would not have been a faithful re-
presentation of the solemn and majestic interior of the Mosque
at Cordova. A " dim, religious light" is admitted into it,
by the doors on the sides, and from several small cupolas
above; which falls upon some parts of this immense edifice,
while others are left in awful darkness. Individuals, walking
through this forest of columns may, by an ardent imagination,
not unaptly be compared to wandering spirits ; — their persons
may readily be distinguished, but their footsteps cannot be
heard.

PLATE VI.

ELEVATION OF THE GATE OF THE SANCTUARY OF THE KORAN.

By the several alterations and additions, which were made at
different times by the Spanish Arabs, they had divided the
mosque into four parts, marked out by two lines of clustered
pillars, crossing each other at right angles. Three of these
portions were allotted to the common people and to the women :
the fourth, which was in the south-east angle, was appro-
priated to the Imams or priests and great men. In this last
division was the great Kiblah or Sanctuary, better knoMTi by
the appellation of the Zancarron, in which the Koran was
deposited. Its door was in front of the great gate, at the end
of the principal aisle : and the architecture and ornaments of
this Sanctuary, as well as the throne of Almansur which faced
it, are very different from those employed in the other parts
of the edifice ; all the skill and taste of the Moors appear to
have been lavished on it, in the richest profusion.

Two rows of columns, about six feet in height, rise one
above another, and support the screen before this Sanctuary.
The columns are chiefly of verd antique, or red marble veined
with white ; the pilasters are of red or white marble ; and
the capitals are of white marble, gilt in many places. The
arabesques and other ornaments of the timber-work of the
roof, as well as those of the pilasters, are very fine, and bear
a great resemblance to the sculptures in the Alhamra at
Granada.

The Gate of the Zancarron, of which our plate represents
the elevation, is indeed an assemblage of beauties rarely to
be equalled. As it very closely resembles the fine specimens
of Arabian architecture to be seen in Upper Egypt, and is
uncjuestionably in a different style from the rest of the Moorish
architecture, it was probably executed in imitation of the
palaces at Damascus and Baghdad : it certainly is the finest

specimen, in the whole edifice, of the first of the three periods,
into which the history of Arabian architecture is divided.
This gate is of white marble delicately sculptured, and orna-
mented with numerous columns of precious marble. The arch
itself is mosaic, with a blue ground, and the decorations su-
perbly gilt; and its intrados are gold, red, blue, and green
mosaics, of singular beauty. Unfortunately, the Arabic in-
scriptions are at present too much defaced, to be sufficiently
legible for the purpose of being transcribed and translated :
yet, from their imperfect remains we are justified in stating,
that the Cufic characters were distinguished by equal taste
and beauty. The two lines, which are at the top and on
either side of the arch, are in mosaic on a blue ground with
gold letters; and the single line, immediately over the arch,
is also in mosaic, on a gold ground with blue letters. The
contrast is exceedingly striking in its present comparatively
decaying state, and the whole is truly superb : but, when
illuminated, (especially on the last ten nights of the month
Ramazan) by the massive silver chandelier, which hung down
in its centre, the gorgeous beauty of the Zancarron must have
surpassed every thing that we can possibly conceive of splen-
dour or magnificence.

The interior of this Sanctuary is an octagon, only fifteen
feet in diameter, into which the light is with difhculty ad-
mitted ; its walls are covered with ornaments nearly similar
to those above described: and the cupola is composed of a
single block of marble, said to be eighteen feet in width;
which, as Mr. Swinburne has justly remarked, is not only
curious for its size and quality, but also for the ingenuity
of the architect, by whom it was placed in such a perfect
equilibrium, as to remain unshaken during the lapse of so
many ages.

The Zancarron is at present a chapel, dedicated to Saint
Peter, and formerly belonged to the Dukes of Alba : it contains
the tombs of several grandees of that family, and is now the
property of the Conde de Oropesa.

PLATE VII.

EXTERIOR ANGLE OF THE MOSQUE.

Each of the four fronts of this noble edifice presents walls of
uncommon solidity, crowned with engrailed battlements, and
supported by buttresses, which, at a distance, have the ap-
pearance of so many towers. Our plate gives a \\QW of the
exterior south-west angle of the mosque : the walls are covered
with plaster of a greyish colour, which being decayed in
some parts, the stone-work becomes apparent ; the massive
outside pier or buttress, is nine feet and a half in height from
the ground to the bottom of the engrailed battlement.

Such IS the general character of the building ; but it is
worthy of remark, that each front differs from the other as to
its height and ornaments, in consequence of the Arabian
architect being obliged to accommodate the structure to the

A DESCRIPTION OF ANTIQUITIES AT CORDOVA.

versatile taste of the Arabs, wlio were passionately fond of
variety, and also to the inequalities of the soil ; which are
so great, that in order to reach the echfice, it becomes ne-
cessary to ascend thirty steps on the south side, and on the
north side to descend fourteen steps. Between most of the
projecting piers or buttresses, doors are placed, which are
ornamented with fret-work in stucco, of equally delicate and
durable workmanship ; that has continued unimpaired, not-
withstanding it has been exposed to the injuries of the weather
for so many centuries. In some of these ornaments, the Arabs
have combined with the stucco a kind of mosaic of baked
earth, the introduction of which has contributed greatly to
consolidate the whole of the fret-work.

These ornaments are further painted with various brilliant
colours ; which must have produced a very striking effect
before any alterations were made in the edifice.

PLATE vm.

A CUFIC INSCRIPTION IN THE PLACE APPROPRIATED TO THE PER-
FORMANCE OF ABLUTIONS, IN THE MOSQUE AT CORDOVA.

T^ranslation of the first seven Lines of the Inscription^

" In the name of God, the Merciful, the Forgiving. O ye
" who believe, when ye proceed to prayer, wash your faces,
" and your hands up to the elbow, and touch your heads and
" your feet unto the ancles : and if ye be unclean from sexual
" intercourse, wash yourselves all over. But, if ye be sick or
" on a journey, or any one of you should come from the
" easing of nature, or if ye have touched women, and find no
" water, perform the ceremony with good earth, and touch
" your faces and your hands therewith. God willeth not to
" impose any difficulty upon you: but he desireth to make
" you pure, and to accomplish his grace upon you, to the
" end that ye may be thankful."

Koran, Surat (or chapter) V. Ayat (or verse) 7.

This part of the inscription, it will readily be perceived, refers
to the performance of ablutions before prayer ; which constitute
one of the four fundamental points of religious practice required
by Mohammed. A particular account of them may be seen in the
" Preliminary Discourse," prefixed to Mr. Sale's translation of
the Koran, pp. 104-106, (4to edition). The characters in this
plate present a fine specimen of the Cufic letters without the dia-
critic points, which were chiefly used for inscriptions on stone.
The translations of the inscription in this and the following plate,
were executed by Professor Shakespear, of the Hon. East India
Company's College, at Croydon.

Translation of the eightli, ninth, tenth, eleventh, twelfth, and

thirteenth Lines.

" In the name of God, the Merciful, the Forgiving. Attend
" carefully to the times of prayer, and to the medial prayer;
" and stand up to God, supplicating. The Imam Almustansir
" Billah Abdullah Alhakam, Commander of the Faithful,

" whom God prosper after (imparting") the divine aid, com-
" manded, in respect to what he thought deficient in this
' ' sanctuary, to clothe it with marble ; which he caused to
" be introduced with the introduction of (pious works and)
" excellent water. This he executed by the hands of his
" minister and Hajib, Jaafar, son of Abdurrahman, with
" whom may God be pleased, and under the inspection of

" Muhammad son of and Ahmad son of Nasr, and

" Khalacl son of Hashim, commander of the guards, and
" Mutref son of Abdurrahman, the secretary his domestic, in
" the month Dhu-l-Hijja of the year three hundred and fifty-
" four." (A.D. 965). "He, that directeth his face to God
" and doeth good, hath taken hold of the firm handle. To
" God is the event (or success) of things."

Of the additional works executed in the mosque by order of
Alhakam and referred to in this and the following plate, some
account is given in the " History of the Mahometan Empire in
Spain," pp. 181-183. The three first lines of this part of the in-
scription are taken from the Koran, Surat xi. Ayat 115.' The
concluding sentence is also taken from the same book, Surat xxxi.
Ayat 2,2,.

Translation of the last four Lines.

" In the name of God, the Merciful, the Forgiving. O ye

" who believe, fear God in the truth of his fear, and ye shall

" not die unless (or till) ye are Moslems (that is, in safety).

" And take hold of the bond of God (his religion) altogether;

" and separate not yourselves (from it). And remember the

" grace of God upon you: when ye were foes, then he caused

" friendship between your hearts, and ye became brethren

' ' through his favour ; and ye were on the brink of the pit

" of fire, when he delivered you from it.. In this manner God

" manifesteth unto you his signs (or miracles or verses of the

" Koran), that ye may be guided to righteousness."

Koran, Surat iii. Ayat 102-103.

PLATE VIIL No. 2.

A CUFIC INSCRIPTION ON THE ADDITIONS MADE TO THE MOSQUE BY
ORDER OF THE KHALIF ALHAKAM.

The three upper lines of this inscription are on the right
hand of the arch ; and the three lower lines are on the left
hand of the arch.

T ranslation of both parts of the Inscription.

" In the name of God, the Merciful, the Forgiving. Praise
" be to God, who hath directed us by the (divine) guidance:
" for we could not have been guided in the right way unless
" he had guided us. Certainly the messengers of our Lord
" came with the truth.

" The Imam Almustansir Billah Abdullah Alhakam,

* The words included in the parenthesis in this part of the inscription, are doubtful,
•t" The proper name of this person is wanting, the translator not being able to ascertain it
from the Cufic characters.

A DESCRIPTION OF ANTIQUITIES AT CORDOVA.

" Commander of the Faithful, whom God prosper, com-
" manded his minister and chamberlain, Jaafar, the son of
" Abdurrahman, with whom may God be pleased, to found
" these two wings'' among what (other structures) he raised
" in piety towards God, and for (the divine) favour. And
" this was completed in the month Dhu-l-Hijja, in the year
" three hundred and fifty-four" (A. D. 965).

The former part of this inscription is taken from the Koran,
Surat vii. Ayat 44 ; in which Mohammed is announcing the judg-
ments, which God will inflict on the infidels, and the rewards
and blessings of Paradise, which he will bestow on the faithful.
See Sale's Koran, pp. 120, 121.

PLATE IX.

THE BRIDGE OF CORDOVA.

Tradition relates, that there formerly was a bridge over the
Guadalquivir, erected on the site of the present structure,

* Literally, shoulders. It is by no means clear, what sort of building is actually intended.

about two hundred years before the arrival of the Moors in
Spain: but, this edifice being greatly decayed, the Arabs
built the bridge delineated in our engraving, during the vice-
royship of Assamh, A. PI. 101 — A. D. 720 or 721. This
noble structure is four hundred paces, or one thousand feet,
in length, at two feet six inches each pace ; its breadth is
twenty-two feet eight inches within the parapet. The passage
over the bridge is a straight line, from one end to the other ;
the arches are sixteen in number ; and the buttresses of the
piers are much stronger and better adapted for similar pur-
poses, than the modern tri-lateral cut-waters. Nearly eleven
centuries have these buttresses withstood the rapid floods of
the Guadalquivir, without sustaining any material injury.

In the river are erected several mills, the horizontal wheels
of which are worked by the stream. One of them, of Arabian
construction, was visited by the author, who observed three
pair of mill-stones grinding corn. The terraced roof of the
building is supported by crescent arches ; and the whole is
strongly cemented, and well calculated to resist the pressure
of the current.

END OF THE DESCRIPTION OF THE ANTIQUITIES AT CORDOVA.

PART II.

A DESCRIPTION OF THE ALHAMRA AT GRANADA.

The Engraving, which is introductory to the description of the Alhamra, exhibits a combination of Arabian ornaments, selected
from various parts of that celebrated palace.

In the centre of this plate, round the circle, is the motto, which so frequently occurs in the edifice, — " Wa la ghalib illa-llah^'"
that is, " T^here is no Conqueror but God.""

In the left hand corner, at the bottom of the plate, is the obverse of a fine gold coin, exactly of the size represented, which was
struck by order of Muhammad Abu Abdillah Ebn Yusuf, surnamed Alghalib Billah, a celebrated king of Granada : the coin in
question is preserved in the Museum of the King of Spain. Within the square is an Arabic inscription, of which the following is
a translation: " In the name of God, the Merciful, the Forgiving, "the Blessing of God on Muhammad afid his family. — There is
no Conqueror but God.'' On the segments of the circle round this square, we read : " Tour God is one God. There is no God but
He, — the Merciful, the Forgivijig.''

In the right hand corner, is the reverse of the same coin, containing the following sentences : within the square : " There is no
God but God. Muhammad is the messenger of God. Almahady, Prince of the people of Granada On the segments of the circle
round the square : " The Commander of the Faithful, Alghalib Billah Muhammad, Son of Tusuf Son of JVasr, whom God prosper.''

The central line, at the bottom of the engraving, has the following inscription :— " Glory to our Lord Abu Abdillah. Glory
to our Lord the Sultan."

PLATE X.

THE ROYAL PALACE AND FORTRESS OF ALHAMRA, AT GRANADA.

On looking from the royal villa or pleasure-house of Al Ge-
neralife, which is delineated in the latter part of this work,*
the spectator beholds the side of the palace of Alhamra, that
commands the quarter of the city, called the Albayzin. The
massive towers are connected by solid walls, constructed upon
the system of fortifications which generally prevailed in the
middle ages. These walls and towers follow all the turnings
and windings of the mountain ; and, previously to the in-
vention of gimpowder and artillery, this fortress must have
been almost impregnable. The situation of this edifice is the
most delightful and commanding, that can well be conceived.
Wherever the spectator may turn his eyes, it is impossible
for him not to be struck with admiration at the picturesque
beauty and fertility of the surrounding country. On the
north and west, as far as the eye can reach, a lovely plain
presents itself, which is covered with an immense number of
trees laden with fruits or blossoms, while on the south it is
bounded by mountains ; whose lofty summits are crowned
with perpetual snows, whence issue the springs and streams
that diffuse both health and coolness through the city of
Granada.

The Alhamra, usually, but erroneously, denominated the

* See it described infra Plates LXXXIX. to XCV.

Alhambra, is a vast pile of building, about two thousand
three hundred English feet in length ; and its breadth, which
is the same throughout, is about six hundred feet. It was
erected by Muhammad Abu Abdillah, surnamed Alghalib
Billah ; who superintended the edifice himself, and, when it
was completed, made it the royal residence.

For a minute accoimt of this palace, with architectural ob-
servations on the disposition of its several parts, the reader is
referred to the " History of the Mahometan Empire in Spain,"
Part I. Chapter V. Sect. II. pp. 193-198.

PLATE XL

A GENERAL PLAN OF THE FORTRESS OF THE ALHAMRA.

Explanation of the Figures of Reference.

1. The Puerta del Justicia, or Gate of Judgment, now the principal entrance to the

Fortress.

2. The gate, called Puerta del VinOy or the Wine Gate.

3. Towers.

4. Armoury.

5. Watch Tower (Torre de la Velha^

6. A Battery.

7. Towers.

8. Place of the Great Subterraneous Cisterns (Plaza de los Algibes).

9. Remains of the Arabian Palace.
10. Palace of the Emperor Charles V.

This grand pile of building, commenced for the Emperor Charles V. was never
finished in consequence of his frequent absences from Spain, occasioned by the

A DESCRIPTION OF THE

ALHAMRA AT GRANADA.

almost perpetual wars in which he was engaged. The spot chosen for its site
commands a most heautiful view of the city of Granada, as well as its surrounding
Vega or Plain. As a specimen of Spanish architecture, it reflects the highest
credit on the artist, Alonzo or Alphonso Berrugueti, who began to execute it in
the year 1526. It is every way adapted to the chmate ; and its interior, which is
of a circular form, unites convenience and splendour. In any other situation but
this, the palace of Charles V. would justly excite admiration : but here it is mis-
placed, and produces only disgust, especially when it is recollected that its ex-
pense was defrayed by part of the money obtained under a false pretence from
the unhappy Moors. That oppressed people had presented the Emperor with
80,000 ducats (according to Pedraza, but M. Peyron says 1,600,000 ducats), as
a boon for not depriving them of the Arabic language. The artful monarch re-
ceived their money, and deluded them with promises that were never fulfilled,
and which did not even put a stop to the inftuuous system of persecuting and
ransoming them, under the insidious pretence of effecting their conversion.

11. Parish Church.

12. Castles, Towers, &c.

13. Towers, flanking the walls of the Fortress.

14. Aqueduct connected with the Generalife.

15. Reservoir Tower.

16. Remains of an ancient dwelling-.

17. Puerta de los siete suelos, or Gate of the Tower of Seven Stages.

This tower is said to descend seven stories under ground : no person, however,
has been able to penetrate lower than the fourth story. Divers marvellous tales
are related concerning this tower, in which the Moorish sovereigns are said, for
a long time, to have deposited their treasures. Here, according to the vulgar
fables, is heard the din of arms, and of soldiers ready to massacre all who have
the temerity to present themselves. These soldiers are stationed here to ouard
immense treasures ; and in the discharge of this duty they are assisted by three
terrific monsters, the most formidable of which is a horse without a head ! ! !

18. Prison Tower.

19. Remains of a Building, called the Mufti's Palace.

20. The Royal Villa of Al Generalife, or Generaliffe.

21. Remains of a Castle called la Silla del Moro.

22. An Arabian Cistern called BaFio de las Damas, or the Ladies' Bath.

23. Coach Entrance to the Generalife.

24. Ruins of a Fortress.

25. Castles and Towers — Torres Vermejas.

26. Remains of a Fortress,

27. The River Darro or Dauro.

28. Part of the City of Granada.

The reader is requested to observe, that all the strongly
shaded parts, in this plate, represent ancient works.

PLATE XII.

A GROUND PLAN OF THE ROYAL PALACE OF ALHAMRA.

The preceding plate exhibits a general plan of the Alhamra,
including all the various modern additions : in the present
engraving we offer a ground plan of this celebrated edifice,
by inspecting which, the form of its different apartments may
be the more readily discerned, and the sites of those in par-
ticular may be ascertained, of which we have given views.

Explanation of the Letters of Reference.

A. A. A. A. The Palace of the Moorish Sovereigns, according to its original plan.

B. B. B. B. B. B. A Fragment ; which, being connected with the buildings that still

continue entire, has enabled the author to ascertain the original plan of the
Alhamra.

C. C. C. C. C. Modern erections added by the Catholic kings of Spain.

D. D. D. D. D. D. D. Horizontal Projection of the Palace of Charles V. which is

described in Plate XL fip-. 10.

Explanation of the Figures in Plate XII.

1. The Outside of the Palace.

2. The Hall of Judgment,— probably so called from the Moorish Kings having sat

there to hear and determine the causes broupht before them

3. Court of the Great Bath.

4. 4. A Parterre, on each side the great Paieo del Agua, A.

5. 5. Pavement on each side of the Parterre.

6. Entrance to the Baths.

7. Roof of Hot Baths.

8. 8. 8. 8. 8. 8. 8. Roof of Baths and Apartments belonging thereto.

9. Point whence our View of the Court of the Lions was taken.

10. The Fountain of Lions.

11. The Hall of the Abencerrages.

12. Sala de das Hermanas, or Hall of the Two Sisters.

13. The Tower of Comares or Comaresch,

which is one hundred and forty-two feet in height. It is said to have derived this
appellation either from the Moorish architect by whom it was erected, or from
the workmen employed coming from a place called Comares, or, according to
Pedraza, from its superbly executed ornaments, by the Moors and Persians
termed Comaragia* It is the loftiest and most magnificent tower in the Al-
hamra : in form, it is a parallelogram : the roof is circular, and the cupola in its
centre is most beautifully stuccoed, in imitation of mother of pearl. The Spaniards
indeed assert, and believe it to be mother of pearl. The various apartments in this
tower are profusely decorated with ornaments and inscriptions, the most beautiful
of which are given in Plates LXVI. to LXXI. and LXXXV. infra. The
poems, whence these inscriptions are taken, are given at length in " The History
of the Mahometan Empire in Spain," Appendix, Nos. 3 — 14.

14. The point, whence our Perspective View of the Hall of Audience, or of the Am-

bassadors, was taken : for which see Plate XL. infra.

PLATE XIII.

THE PRINCIPAL ENTRANCE TO THE ALHAMRA.

This plate exhibits to considerable advantage the massive
architecture of the Alhamra : the principal approach to it is
through the narrow Calk de los Gomeles, or Stittt of Gomeles,
so called from the ancient and powerful Moorish family of
that name. From this street, which has retained its original
form, after passing through a gate into the outward inclosure
of the Alhamra, the road ascends by a winding path through
a wood of lofty elms, intermixed with other handsome trees.
Wild neglected walks intersect the ascent in various direc-
tions; and streams of water, gushing on every side from the
moss-covered rocks, frequently spread over the whole road.
Near the summit of the hill, is a large and formerly hand-
some fountain erected by the Emperor Charles V. It is now
in a state of very considerable decay, and, like the rest of this
magnificent edifice, exMbits a monument of departed splen-
dour. All is verdant, and most beautifully picturesque on
this delicious spot.

PLATE XIV.

THE GATE OF JUDGMENT.

This gate, which is now called the Guard-Gate in consequence
of some invalids mounting guard at it, was erected by the
Sultan Abu-l-Hajjij Yasuf, an illustrious King of Granada,
A. H. 749, or A. D. 1348 ; as appears by an Arabic inscrip-
tion over It above which an image of the Virgin has been
placed The inscription referred to, is given at lenglh, with
an English translation, in the " History of the Mahometan
Empire m Spain," Appendix, No. l. The horse-shoe arch,

* Pedraza, Antiguedad de Granada, p. 16.

A DESCRIPTION OF THE

ALHAMRA AT GRANADA.

which is so ^^ecidiarly characteristic of Arabian architec-
ture, is particularly observable in this part of the structure.
On each side of the above inscription is a block of marble,
containing (in Arabic) the following passages from the
Koran : — ' ' Praise be to God ! Titer e is no God hut God,
and Mahomet is his Prophet. There is no strength hutjrom
God.''

This gate is termed the Puerta de laj'usticia, that is, Gate
of Law or of Judgment, because it was erected to serve as a
tribunal, in conformity with the practice of the ancient Arabs,
who as well as the Jews, held their courts of justice at the gates
of the cities. It is in consequence of this ancient Oriental
custom, that the Court of the Grand Signior is distinguished
by the appellation of the Sublime Porte. The marble, with
which this gate is constructed, was originally white, but it
has now become of a grey or yellowish cast.

PLATE XV.

ELEVATION OF THE ANCIENT GATE OF JUDGMENT.

In this plate we have a nearer view of this noble gate of en-
trance, and are better enabled to examine its oi naments. The
mosaic tiling at the top is about three feet four inches high,
and of a pattern that is frequently to be seen in the Alhami a.
The inscription beneath it is in flourished Cufic characters,
and consists of the motto, twice repeated, which occurs in
almost every part of the edifice, viz. Wa la ghalib illah-llah,
that is, " And there is no Conqueror but God.''

Beneath this inscription, upon the key-stone of the arch
(which is the second or inner arch of the gate), is sculptured
a key, a favourite symbol with the Moslems. The Koran
frequently mentions the Key of God, which opens to believers
the gates of the world and of religion. M. Peyron has re-
marked, that the key, among the Mussulmen, is nearly the
same as the cross among Christians, — a principal sign or
badge of their faith. Among the Arabians it had functions
and power, similar to those attributed to it by the members
of the Roman Catholic Church : namely, that of binding and
loosening, of opening and shutting, the gates of heaven.

As the key in the scriptures is considered as an emblem of
power (see Isa. xxii. 22, with Rev. i. 18, and iii. 7), Pedraza
thinks it was therefore adopted as an armorial ensign ; and
that, in conjunction with the hand, which is seen conspi-
cuously in Plate XVI. it was sculptured on the gate by
order of Abu-l-Hajjaj, to denote concord, or union and power.
The door of this gate is of palm-tree wood, with iron bolts ;
and the capitals of the columns are executed in the same
style as those which appear in the Lions' Court. An
enlarged view of one of these entablatures is given infra,
in Plate XXXVII.

PLATE XVL

PORCH OF THE GATE OF JUDGMENT.

In addition to the objects described in the preceding en-
gra\'ing, the present plate affords a clear view of the lofty
porch of the Gate of Judgment. The crescent form of the
arches is seen to considerable advantage : and on the key-
stone of the first or high arch, is sculptured an open hand ^
which (as well as the key above noticed) was a favourite
symbol with the Mahometans. The omnipotent ha7id of God
is very often mentioned in the Koran, as conducting the true
believers into the right way.

The mystical import of this open hand has excited much
curious inquiry, the discussion of which would be foreign to
the design of this work. We may, however, remark, that it
had three mysterious significations among the Moors.

I. It designated divine Providence.

II. It was a prototype, or rather epitome of the law, which
has five fundamental precepts. As the hand has five parts,
viz. four fingers and a thumb. These precepts are : L Faith
in God and in Mahomet as his Prophet. 2. Prayer (under
which are comprehended all those legal washings or purifica-
tions which are accounted necessary preparations to that
duty). 5. The giving of Abns. 4. /rtj^mg, particularly during
the month of Ramadan, and 5. A pilgrimage to the Caaba
at Mecca''' And each of these precepts is divided into as
many modifications as the fingers and thumb.

III. The Arabians, considering the hand as the symbol of
their religion, believed it to be a powerful defence against the
enemies of the Koran ; and that it could even produce en-
chantments and miracles, by giving to it certain figures, and
changing them according to the courses of the stars, constel-
lations and planets. According to this notion (says M. Pey-
ron), when represented open like this hand over the Gate of
Judgment, it had the power of weakening the strength of the
enemy.

Further, it appears from the account given by Pedraza, the
learned antiquary of Granada, that the hand was a symbol of
union among those Arabs who remained in Spain, after the
conquest of that city by Ferdinand and Isabella. The Moors
used to wear, on their breast, a small badge containing the
figure of a hand, together with some Arabic characters. At
this symbol of their faith and mutual brotherly love in
their bondage, the sanguinary Inquisition took alarm : the
government became apprehensive for the stability of the
Church and State; and, after many consultations with the
hierarchy, the use of this symbol was formally abolished by
law, among many other national customs of the oppressed
Moors.

* For an account of these fundamental principles of Islamism, see Sale's Koran, Prel. Disc,
pp. 71—122, 4to. edition.

A DESCRIPTION OF THE ALH4MRA AT GRANADA.

PLATE XVII.

A SECTION OF THE GATE OF JUDGMENT.

This engraving will convey some idea of the solid masonry,
with which the gate is constructed. After the copious elu-
cidations already given, little remains to be offered respecting
it. We may however remark, that

A. is the niche in which the statue of the Virgin Mary is placed, which appears in

Plate XIV. In

B. Are placed the benches for the invalids to sit on, who mount guard at this gate.

C. A door-way, opening into other parts of the palace, which is now covered with

plates of iron.

PLATE XVm.

ELEVATION OF THE PUERTA DEL VIxNO.

The position of this gate may be seen in Plate XI. No. 2.
Whence its name, Piierta del Vino, or the Wine-Gate, is de-
rived, we have not been able to ascertain. The door is of
palm-tree wood, with iron bolts ; and over the gateway is a
dwelHng, leading from the guard-house entrance to the palace
of the Emperor Charles V.

PLATE XIX.

PLAN AND SECTION OF THE GREAT CISTERN.

Contiguous to the Palace of the Emperor Charles V. is the
Plaza de los Algibes^ or square of the cisterns, which is thus
denominated from the ancient cisterns constructed beneath
it, and which are constantly supplied with running water,
brought from a neighbouring hill, about one league distant.
So abundant was the quantity thus conveyed, as fully to
answer the demands of the numerous inhabitants who an-
ciently occupied the Alhamra. The largest of these subterra-
neous cisterns is correctly delineated in our Engraving ; and,
when the water is discharged from it, it is perhaps one of
the most curious objects of attention in the whole palace. It
has been formed at a considerable depth below the surface
of the ground; is one hundred and two feet in length by
fifty-six feet in width; and the whole is inclosed by a
wall six feet thick, and arched over. This arch, marked A.
in the plate, is forty-seven feet seven inches high in the
centre, and seventeen feet five inches below the surface of
the ground.

B. B. Are two circular openings, twenty-five feet six inches asunder, from centre to

centre of each, and strongly walled. They are three feet six inches in diameter,
and are carried up three feet six inches above the surface of the ground, in
order to admit both air and light.

C. is a vault eleven feet square ; after passing which, the steps

D. lead from the surface of the ground down to the bottom of the cistern. Four feet

above the second landing place.

E. is the level of the vault C. through which the water passes, and enters the cistern.

F. F. F. are three openings between the two landing places descending to the

bottom. They are six feet in height by three feet in width. The descent of
the steps from the surface of the ground to the bottom of the cistern is
sixty feet.

G. is a sewer, to carry off the water : for which purpose a man was let down the well,

H. by a rope. The apparatus for discharging the water was extremely simple, con-

sisting of a brass cock, which was fixed at the extremity of

I. a narrow subterraneous corridor.

This immense reservoir is supposed to have been con-
structed with the design of keeping the water in a state of
perpetual coolness, — a luxury, which in hot climates is re-
garded of the utmost consequence.

PLATE XX.

THE HALL OF THE BATHS.

The further we advance towards the interior of the palace, the
more costly and beautiful is the execution of the workman-
ship, agreeably to the custom of the Moors ; who to this day
bestow little of external ornament on their edifices ; while all
that art can contribute to convenience or splendour, is pro-
perly bestowed on the inner apartments.

The hall, delineated in Plate XX, derives its appellation
from its leading to the baths of the Alhamra: its arches rest
on very slight columns ; which, as well as the floor, are of
white marble. The mosaic tilings reach up to the cornices,
and are exceedingly beautiful : the respirators or ventilators
are of baked earth, with a green glazing : the form of these
ventilators is represented in the upper part of our engraving;
and the same shape is preserved in all the apartments be-
longing to the baths.

PLATE XXL

A SECTION OF THE HALL OF THE BATHS.

The solidity of the Arabian structure is here advantageously
seen, together with the form of the mosaics. The columns
are in a style of architecture, totally differing from that of
every order to which the European eye is accustomed : not-
withstanding their apparent slendeiness, they have proved
fully adequate to support the superior incumbent weight of
the massive stone work above them.

PLATE XXIL

cieling of the hall of the baths.

The ciehng of this noble apartment is one of the most superb
that can well be conceived: its border is beautifully orna-
mented; and the ventilators, which are here seen in different
points of view, being glazed of a green colour, admit both
light and air, and diffuse a most refreshing coolness through
the hall.

A DESCRIPTION OF THE
PLATE XXIII.

THE king's bath.

PLATE XXIV.

THE queen's BATH.

On account of the frequent ablutions required by the Koran,
the baths constitute the most important part of the royal
palace ; accordingly no labour or expense has been spared,
in order to render them magnificent. Passing by what is called
the common bath, (which in any other place beside this
palace of enchantment, would justly command admiration),
we proceed to the baths appropriated to the sovereign and his
consort. These apartments are both finished in an exquisite
style, but the Queen's bath is the most richly ornamented
with gilding and porcelain. The basons, containing the water,
are of white marble ; the walls are covered, to the height of
the cornices, with beautiful black and white mosaics. The
vaulted stone roof is perforated with the ventilators ; through
which a soft and skilfully managed light is admitted into this
voluptuous retreat. The Arabic inscription in the King's
bath consists of these following sentences, so often repeated
in the Alhamra : — Thei^e is no conqueror but God,'' and
" Glory to our Lord, the Sultan Abu AbdillahP'

PLATE XXV.

CONCERT ROOM OF THE BATHS.

Contiguous to the baths was a lofty saloon, in which the
royal family listened to the performances of the musicians.
These were stationed in the elevated tribune in the centre of
our engraving; while the court sat below on costly carpets.
The columns that support this noble saloon, are of white
marble : the mosaics, which are here in the greatest abun-
dance, are uncommonly beautiful, particularly those between
the columns, which are black, green, yellow, and white, set
in a green border. The roof is covered with tiles, and the
woodwork beneath is richly ornamented, especially the three
lattices or windows, and the different recesses, whose comnlex

ALHAMRA AT GRANADA. 11

PLATE XXVIL

A GROUND PLAN OF THE BATHS, IN THE ALHAMRA.

Explanation of the Letters of Reference in this Plate.

A. A. A. Entrances to the quarter of the Palace containing the Baths.

B. B. B. B. B. B. Passages communicating with the different apartments and Baths.

C. C. Apartments, looking into

D. D. A court with a fountain in its centre.

E. E. Baths and dressing rooms.

F. F. F. Warm Baths.

G. G. G. The place where the water was heated : the copper vessels anciently em-

ployed for this purpose were sold, upwards of thirty years since, by the then
Governor of the Alhamra, for the sum of 14,000 reals, about ,£350. sterling.
From these coppers, the warm water was conducted between the walls to the
different baths, by means of pipes communicating with them, and which are
distinctly shewn by the white line.

L I. I. I. L L L Other baths and apartments : the lines a. a. a. a. a. a. a. a. a. a. a.
designate steps by which the bathers descended into the water.

K. The great Hall of the Baths, delineated in plates XX, XXI, and XXII.

PLATE XX Vm.

ELEVATION OF A SMALL PORTICO NEAR THE CHAPEL.

After leaving the gate of judgment, and before we reach the
Plaza de los Algibes, or square of the cisterns, we pass through
a gate, which is now converted into a chapel. Adjacent to
this chapel is the charming little portico, of which our En-
graving presents an elevation : it is one of the best finished
parts of the palace ; the delicate execution of its variegated
mosaics, the elegant form of the Cufic characters, which con-
tain the common inscription of the building, (" There is no
Conqueror but God,)'' the elegant proportion of the pillars, all
together present a scene of unrivalled beauty. The window is
seen in perspective through the arch ; and the prospect from
this window is truly grand and picturesque, commanding a
view, not only of the villa of Al Generalife, but also over the
exuberant Vega or plain of Granada, as far as the distant
mountains by which it is circumscribed.

PLATE XXIX.

ornaments exceed every thing of the kind that has been exe-
cuted in modern times. The Cufic inscriptions, which are so
numerous in this part of the palace, are only repetitions of
those described in the preceding plate.

PLATE XXVL

A SECTION OF THE BATHS IN THE ALHAMRA.

In this plate is indicated the relative situation of the different
apartments belonging to the baths.

A. A. Is the noble vaulted hall communicating with the baths and the concert room :

it is delineated and described in Plates XX, XXI, and XXII, supra.

B. The King's Bath, see Plate XXIII.

C. The Queen's Bath, see Plate XXIV.

D. The concert Room, or Saloon of Music, see Plate XXV.

NORTH SIDE OF THE PATEO DEL AGUA, OR GREAT FOUNTAIN.

PLATE XXX.

ELEVATION OF THE PORTICO ON THE NORTH SIDE OF THE

PATEO DEL AGUA.

PLATE XXXL

A VIEW OF THE SOUTH SIDE OF THE PATEO DEL AGUA.

Nearly in the centre of the palace, stands the noble Court and
Fountain delineated in these three engravings . For their relative
situation, see Plate XII. fig. 4. 4. p. 8. The cool temperature

A DESCRIPTION OF THE ALHAMRA AT GRANADA.

of the air, arising from the fountain and the noble sheet of
water connected with it, must have been truly delightful.
The pavement, with which it is surrounded, is of white
marble ; and on either side was a parterre of flowers, now
neglected. Tlie usual inscription is presented in Giific
characters. Tlie windows of the end, and upper part, of the
south side, have been shut up in consequence of the palace
of Charles V. having been erected. The pent roof in the
north front of the Pateo del Agua, appears to be a modern
addition : for its projecting rafters are plain, while those on
the other three sides are ornamented. It is therefore highly
probable, that such addition was made by some of the later
kings of Spain, in order to make the four sides look uniform.
Some of the stucco work is also modern, and of very inferior
execution to that of the Arabs, which for the most part re-
mains unimpaired, while the other is rapidly mouldering
away.

PLATE XXXII.

ELEVATIOxN OF AN ALCOVE IN THE PATEO DEL AGUA.

The tasteful ornaments and elegant form of the Cufic cha-
racters, which could not be distinctly exhibited in the pre-
ceding plates, are here displayed to the greatest advantage.
The mosaics, which are in excellent preservation, must have
been extremely beautiful in the time of the Moors.

The walls of the alcoves in the Court of the Pateo del Agua
present various effusions of the muse, which have been in-
scribed by diflFerent travellers, and which of course vary in
style and execution. The following is the best of these
votive offerings, and was transcribed verbatim by the author
of the present work, on the 20th of July, 1802, from the wall
of one of the alcoves :

" When these fam'd walls did Pagan rites admit,

" Here reign'd unrivall'd breeding, science, wit.

" Christ's standard came, the Prophet's flag assail'd,

" And fix't true worship where the false prevail'd :

" And, such the zeal its pious followers bore,

" Wit, science, breeding, perished with the Moor.

" H. F. Gr lie, Feb. 7, 1790."

Happily for the honourable author of this severe but just
censure on the furious bigotry of the Spaniards, it was written
in English. Had the reverend f^ithers of the Holy Inquisi-
tion been apprised of its tendency, it is more than probable
that the preceding honest effusion of his indignation would
have procured him the favour of a residence (for some time
at least) within the walls of that merciful tribunal.

PLATE xxxin.

A PERSPECTIVE VIEW OF THE COURT AND FOUNTAIN OF LIONS.

After passing through the Court of the Baths, which appears
to be the grand exterior vestibule of the palace, we enter
another court, by the Spaniards termed Qiiarto de los Leones,

or the Lions' Court, than which, nothing more elegant can
be conceived : it is, indeed, the most perfect model of Moorish
architecture.

The Lions' Court is an oblong square, one hundred feet in
length, and fifty in breadth ; and is surrounded with a cor-
ridor of one hundred and twenty-eight columns that support
the arches, on which rest the upper apartments of this en-
chanting palace. A beautiful portico, not unlike the portals
of some Gotliic churches, projects into this court at each ex-
tremity ; the stuccoed ceiling of which is executed with equal
perfection and elegance. The colonnade is paved with white
marble ; and the slender pillars themselves, are of the same
material. They are disposed very irregularly, being some-
times single, and at other times in pairs, or clusters of three;
but the magnificent coup-d'oeil of the whole is peculiarly
pleasing to the eye of the astonished visitor. The columns
are about nine feet high, including the base and capital, and
eight inches and a half in diameter : the larger crescent arches
above them, are four feet two inches in width ; and the smaller
arches are three feet wide. To the height of five feet from
the ground, the walls are ornamented with a beautiful yellow
and blue mosaic tiling, with a border containing the often re-
peated sentence, " There is no Conqueror but God," in blue
and gold. The capitals of the pillars vary in their designs,
each of which is very frequently repeated in the circumference
of the Court ; but not the least attention has been paid to
placing them regularly or opposite to each other.

The arches are further ornamented with a great variety of
tastefully designed and exquisitely finished arabesques, in
which no trace of animal or vegetable life is to be found, and
which are surmounted with the usual inscriptions : and above
these arches, an elegantly finished cornice runs round the
whole court. From some remaining fragments of tiles, which
are varnished and painted of various colours, aiid with which
the building was originally covered, it should seem, that the
roof was anciendy more lofty than it now is. In the centre of
the court stands the celebrated fountain, whence it derives its
name, and which is more clearly dehneated in the following
engravings. The only thing that disfigures the harmony of
this noble Court, is the projecting roof of red tiles, which,
according to Mr. Swinburne, was put on by order of M. Wall,
formerly prime minister of Spain, under whose administration
die Alhamra received a complete repair. In a garden front-
mg the Court above described, four stones were found some
years since, containing the epitaphs of four sovereigns of
Granada. That of Abu-l-Hajjaj Yusuf is given at length,
accompanied by an Enghsh translation, in the " History of
the Mahometan Empire in Spain," Appendix, No. 15.

PLATE XXXIV.

elevation of the fountain of lions.

the centre of the superb Court, above described, stands
Fountain of Lions : the animals, twelve in number,

A DESCRIPTION OF THE ALHAMRA AT GRANADA.

are, and support on their backs an alabaster bason richly carved
and ornamented, out of which rises a smaller bason. While
the pipes were kept in good order, a great volume of water
was thrown up from the latter; which fell down into the
larger bason, and, passing through the lions, issued out of
their mouths into the large reservoir, which was of black
marble, thus forming a perpetual and refreshing cascade.
From this reservoir, the limpid stream was diffused by means
of marble channels through various apartments, and supplied
the jets d'eau which were constantly playing there. This
noble fountain is supposed to have been executed in imitation
of the brazen sea, placed by King Solomon in the Temple at
Jerusalem. Some of the stucco-work in this court, as well
as in the Pateo del Agua, is a modern and very inferior imi-
tation of the Arabic, being coarse and dirty, and is rapidly
mouldering to decay. The ancient work, on the contrary,
which is out of the reach of hands, is beautifully white, clean,
and sharp. Not a single spieler's web, or insect of any kind,
could the author discover in any part of the court; while the
stucco work, executed by order of later kings, was covered
with cobwebs in various parts. The wooden work of the
Arabs also continues free from worms and insects of every
kind.

PLATE XXXV.

PLAN OF THE BASON OF THE FOUNTAIN OF LIONS.

The form of this noble reservoir is a dodecagon : the inscrip-
tion around it is executed in elegant characters, and is engraved
at length in Plates LXXXIII. and LXXXIV. infra. It is
also given in modern Arabic characters, accompanied with a
literal translation by Professor Shakespear, in the " History
of the Mahometan Empire in Spain Appendix, No. 2.
Many of the characters are much defaced by the injuries of
time.

PLATE XXXVL

SIDE ELEVATION OF THE LlONs' COURT AND FOUNTAIN.

This plate exhibits a correct view of the proportions of the
Lions' Court, together with a section of the Fountain itself.
The clumsy shape of the lions presents a striking contrast to
the general harmony that pervades the fountain. The mosaic
ornaments in this plate are delineated at large, in Plates L.
and LI. infra.

PLATE XXXVIL

ENTABLATURE IN THE COURT OF THE LIONS.

A CAREFUL examination of this engraving will convey a more
precise idea than any description can possibly give, of the

exquisite taste and skill displayed in the ornaments ; which
are scattered in such rich profusion throughout the superb
court and fountain already delineated. It will, therefore,
suffice to observe, that these ornaments are here given in their
full size ; and that the height, from the bottom of the archi-
trave (with the inscription) to the bottom of the rafters, is
exactly two feet nine inches and a half, of English measure-
ment.

PLATE xxxvm.

HALL OF THE TWO SISTERS.

From the Lions' Court we pass into the Sala de dos Hermanas
or Hall of the Two Sisters, so called from two large and sin-
gLilarly beautiful pieces of marble, which form part of the
pavement, and are to be seen on either side of the fountain.
They measure fifteen feet in length by seven and a half in
breadth, and are entirely free from flaw or stain. The eye is
lost in contemplating the rich assemblage of ornaments, which
appear in every part of this noble hall.

From the pavement to the beginning of the arches^ the walls
are decorated with elegant mosaic : the pannels between the
arches are filled with a very delicate ornament, which at a
little distance has the appearance of a plain mass ; and the
ceiling, which is carefully preserved from the injuries of the
weather, is composed of stalactites in stucco, and is finished
in a style of equal elegance. The distribution of the various
parts of this noble apartment is truly enchanting. The four
balconies above were occupied by musicians ; below sat the
women ; and a jet d'eau in the centre diffused a refreshing
coolness through the hall. The windows in the back ground
are finished in a similar style, and look into the little myrtle
garden of Linclaraxa, which, being neglected like the rest of
the palace, is no longer the lovely spot it was in the time of
the Arabs. The exquisite mosaics in this Hall are delineated
at large in Plates LII. LIII. and LIV. infra; and twopannel
ornaments, with three of its circular Cufic inscriptions, in
Plate LXXXVI. iiifja.

PLATE XXXIX.

HALL OF THE ABENCERRAGES.

Opposite to the Sala de dos Hermanas, is the Sala de los
Abencerrages^ or Hall of the Abencerrages, so called from the
massacre of that illustrious tribe ; which is said to have been
here perpetrated by Boabdil, the last king of Granada. The
Abencerrages were one of the noblest tribes in that city, and
objects of envy to the Zegris and Gomeles, by whom they
were falsely accused of treason to the King, and one of them
was charged with illicit intercourse with the Queen. In
consequence of this charge, the monarch beheaded eighty-six

A DESCRIPTION OF THE ALHAMRA AT GRANADA.

of the Abencerrages (some statements say thirty-five) hi one
day : the Siikana committed her defence to four Christian
knights, her champions, who each overcame the accuser with
whom he fought, and vindicated both her character and that
of the Abencerrages/'' The eyes of the vulgar can still per-
ceive, in the alabaster bason which is in the centre of this
apartment, traces of the blood of those brave men, whom they
consider as the martyrs of envy : but the unanimous testimo-
nies of enlightened travellers assert, that these indelible bloody
spots are nothing more than the effects of time and exposure
to the air.

The Hall of the Abencerrages appears to have been a cen-
tral saloon communicating with the other apartments of the
palace. Every possible variety of combinations, which can
be devised by ingenuity or patience, is employed to decorate
the walls and ceihng ; and is executed in the most exquisite
manner that can be conceived. The lines regularly cross
each other in a thousand forms ; and, after manifold windings,
return to the spot whence they first begin. An inspection of
Plate LV. in which one of these admirable mosaics is de-
lineated, will give a more correct idea of the taste and beauty
which pervade them, than could be obtained from a mere
description, or from a minute examination of the present en-
graving. These uncommon designs appear again in different
parts, and were probably formed by pouring prepared gyp-
sum -f into moulds, and, after applying it to the walls, by
painting it with gold, azure, and purple. The ceiling itself
is equally extraordinary, and worthy of admiration : it pre-
sents a series of grottos, from which depend stalactites,
painted of various colours.

PLATE XL.

A PERSPECTIVE VIEW OF THE GOLDEN SALOON, OR HALL OF

AMBASSADORS.

This magnificent apartment, by the Arabs termed the Golden
Saloon, from the profusion of gold ornaments which it con-
tained, was appropriated to the reception of ambassadors:
hence they further called it the Hall of Audience, and from
the same circumstance the Spaniards have given it the appel-
lation of the Salade los Emhaxadores, or Hall of Ambassadors.
It is situated in the lofty tower of Comares or Comai esch
(See Plate XII. fig. 13, and page 8, supra); is thirty-six
feet square, and sixty feet four inches high from the floor to
the highest part of the cieling. The walls are, on three sides,
fifteen feet thick, and on the fourth side nine ; the lower range
of windows is thirteen feet in height.

The grand entrance into this noble hall is through an
arched door-way, admirably finished, and embelhshed with
flowers and arabesques in stucco: they were blue and gold,

* The reader may see a translation of a Moorish narrative relating to this event, in M. Peyron's
Essays on Spain (Bourgoing's Modern State of Spain) vol. iv. pp. 167—169.

t It is generally supposed, that the beautiful stucco-work of the Alhamra was composed of
gypsum mixed with whites of eggs and oil.

(.1.

but the gilding is now almost entirely effaced. From this en-
trance our view was taken, as affording the best view of this
" P?^oud Saloon,'' as the Arabian writers term it, and which
is admirably adapted to the display of Moorish grandeur.
Over the principal door is an Arabic inscription, which ap-
pears to have been executed in a style corresponding to the
splendour of the rest of the edifice : it is taken, with the
exception of the concluding sentence, from the Koran, Sura,
(or chapter) 91, Ayat (or verse) 1-7. "By the sun and its
rising brightness; by the moon, when she followetli him;
by the day, when he sheweth his splendour; by the night,
" when it covereth him with darkness; by the heaven, and
" him who created it; by the earth, and him who spread
"it forth; by the soul, and him who completely formed
" it; there is no other God but God."* On each side of
this door is a small niche, in which the Moors left their
babouches or slippers, before they entered the royal presence :
these niches are likewise decorated with their respective
inscriptions.

On entering the Hall of the Ambassadors, the eye is lost
in astonishment, at the variety of ornament, the elegance of
execution, and exquisite taste, which characterise every part
of it: and, if thus superb even in its present deserted state,
how resplendent must this " Golden Saloon" have been,
when the sovereign, arrayed in all the pomp of Oriental
magnificence, assembled his brilliant court to give audience to
the representatives of the neighbouring monarchs ! by com-
paring the following description with our plate, the reader
may be enabled to form a pretty correct idea of this costly
apartment. The whole floor is inlaid with mosaic: the same
kind of ornament, but of different patterns, covers every part
of the walls, interspersed with flowers and Arabic inscriptions,
executed in porcelain with exquisite skill, so as to unite and
harmonize exactly with the stucco ornaments which every
where abound. On the cornices above the mosaics, and be-
neath the usual inscription, " there is no God but God," the
piety or superstition of the modern Spaniards has led them to
introduce the crucifix : it is however so dexterously inserted
as not materially to injure the general effect. The height and
boldness of its arched ceihng are particularly worthy of ob-
servation: and the almost innumerable chiligon mosaics,
knot and other ornaments, must be seen, to form a tolerable
idea of their splendour. Gold, silver, azure, purple, and
other brilliant colours, all seem to strive which shall appear
most conspicuous on the stuccoed facets. Inscii ptions occur
every where, so that the Alhamra in general, and this apart-
ment m particular, has not improperly been called a collection
o[ fugitive pieces. Such of these inscriptions and mosaics, as
have best survived the ravages of time and neglect, are en-
graved in some of the following engravings, and by com-
paring them with the perspective view given in the plate just
described, the lover of antiquities may be enabled to form
some faint idea of the departed glories and splendours of the
Hall of the Ambassadors.

* See Sale's Koran, p. 492, 4to. edit. ^ See Plates LVI. to LXI. infra.

A DESCRIPTION OF THE

ALHAMRA AT GRANADA.

PLATE XLI.

SECTION AND ELEVATION OF THE INTERIOR OF THE GOLDEN SALOON.

After the copious description given to the preceding plate,
little remains to be added here. We have in tJiis engraving
a nearer view of the windows, together with the ceiling, and
some of the ornaments. The walls are of pebbles and red-clay
intermixed. The height from the floor to the centre of the
ceiling is sixty feet four inches, English, and the cieling itself
is of a very curious construction : it is composed of strong
pieces of wood in admirable preservation, which are keyed
and fastened together in such a manner, that, on pressing the
feet on the centre of the summit, the whole vibrates like a
tight rope. Above the ceiling is the roof, which could not be
exhibited in our plate : it is formed of strong scantling of ten
inches square deal, and laid close together, with cross braces
at the angles. Upon these rafters the bricks are laid, and upon

them is a coating of lime, over which the bricks and tiles
are placed, that form the exterior of the roof. The windows
command a most delightful and extensive prospect. At the
foot of the palace, the Darro winds its fertilizing streams :
and from this place the view takes in the greater part of the
city, together with the verdant mountains which rise above
it, and of the charming hill which forms its base. Well
might Charles V. exclaim, as he is reported to have done,*
on his first entering the Tower of Comares, when he visited
this sumptuous Hall, and beheld the magnificent prospect
from its windows: — " I would rather," said he, " have this
" place for a sepulchre, than the Alpuj arras for an inheri-
" tance ! " — Alluding to the last Moorish King of Granada ;
who, on the suirender of this fortress, stipulated for a resi-
dence in the Alpujarras mountain, which lies on the east side
of the Sierra Nevada.

* See Pedraza, Antiguedad de Granada, p. 16.

Having thus conducted the reader through the numerous apartments of this palace of enchantment, it remains that we present to
his notice a more detailed account of its various ornaments than could be offered in the preceding descriptions. We shall, there-
fore, invite his attention first to the paintings and vases, which formerly decorated its walls ; and, having next given such of its
various mosaics, inscriptions, and ornaments, as continue in the best state of preservation, we shall proceed to describe the royal
villa of Al Generalife, and the other leliques of Moorish magnificence at Granada.

PLATE XLII.

A MOORISH BATTLE-PIECE, FROM A PAINTING IN THE ALHAMRA.

At the extremity of the Court of the Lions^ and contiguous to
the apartments occupied by the curate of the Alhamra, are
three historical paintings, fixed in the ceiling of a recess :
they are finished with a considerable degree of strength, and
much stiffness prevails in the figures and countenances.
Mr. Swinburne is of opinion, that they are not the work of
a Moorish artist, but were executed by some Spanish painter
shortly after the concjuest of Granada : he rests his conjecture
chiefly on the anathema denounced by the Koran against all
representations of animated beings. But it is well known
that the Spanish- Arab Khalifs disregarded this prohibition:
the lions, which support the celebrated fountain that bears
their name (See Plates XXXIII. and XXXIV.), are a proof
full in point ; and, in addition to this evidence, we know
that one Khalif * placed the statue of a favourite mistress over
the magnificent palace which he had erected for her use ;
while others, in defiance of the Prophet's mandate, caused
their images to be stamped on their coins. -'r There is, there-
fore, every reason to believe that the paintings in question,
are really the work of an Arabian artist.

As to the subject of our plate, nothing certain is known;

it forms the larger half of one of the paintings, and is evidently

* Abdurralimrm HI. See tlic " History of the Mahometan Empire in Spain," p. 1T3.
•\- See this subject discussed in the same work, p. 273.

a tournament or battle-piece ; but on what occasion it took
place, it were useless to conjecture. It is, however, valuable,
in common with the other paintings, as shewing the costume
of the Spanish Arabs, during the zenith of the Mahometan
Empire in Spain.

PLATE XLIII.

A LION HUNT, FROM AN ARABIAN PAINTING IN THE ALHAMRA.

This plate is part of a large picture, representing lion and
boar hunting. In the original, the horseman is accompanied
by two or three ill-shaped dogs, which are here omitted, as
we have selected only those parts which are in the best state
of preservation.

PLATE XLIV.

A BOAR-HUNT, FROM A PAINTING IN THE ALHAMRA.

This subject is part of the same painting : the compartment
adjoining, which, being somewhat decayed, we have not
copied, represents the boar as killed, and in the act of being
tied on the back of a horse by four attendants, previously to
its being carried off.

A DESCRIPTION OF THE ALEfAMRA AT GRANADA.

PLATE XLV.

AN ARABIAN COUNCIL, FROM A PAINTING IN THE ALHAMRA.

This is supposed to be a Divan or Council : it forms part of
another painting wJiicli is somewhat impaired. The princi-
pal personage is easily recognized, hy the splendour of his
apparel.

PLATE XLVL

MOORISH COSTUMES, FROM AN ARABIAN PAIxNTING IN THE ALHAMRA.

This engraving is copied from a painting in the north side of
the lower recess, abovementioned. It is supposed to repre-
sent the entrance of some princess ; and the Cicerone of the
Alhamra invariably refer it to the story of the Sultana and her
four Christian Knights (see page 13, supra). The men are
young and comely; the women are young and handsome,
with simple countenances. The horse is superbly capari-
soned ; his harness being studded with gold, and what is
designed for the stirrup, being composed of the same precious
metal. The dress of the principal female is very elep-ant and
costly.

PLATES XLVIL and XLVIIL

ARABIAN VASES AND NICHES, PRESERVED IN THE ALHAMRA.

These precious memorials of Arabian skill and taste, were
discovered in the vaults beneath the royal apartments, conti-
guous to the Plaza de los Algibes, or Scjuare of the Cisterns.
They are of porcelain richly enamelled with gold and azure
foliages and characters : the vase in Plate XLVIII. is further
decorated with two antelopes. The inscription on the vase,
delineated in Plate XL VI I. is the same which occurs, times
without number, in every part of the edifice : viz. JVa la
ghalib illah llah, that is, " Ajid there is no Conqueror but God.''
The inscriptions on the vase in Plate XLVIII. are one sen-
tence frequently repeated : but as the discriminative points are
invariably omitted, this sentence cannot be determined with
certainty. Perhaps it may be &3 ^lli^OJ, that is, let amthedem
lahu, — " (Ihere are) no likenesses to Him (viz. to God).

PLATE XLIX.

MOSAIC PAVEMENT IN THE DRESSING ROOM OF THE SULTANA.

The apartment, whicli is paved with this elegant mosaic, is
usually called El Tocador. or the Dressing Room of the
Sultana : it is a cabinet about six feet square, with a window
on each side, surrounded with a balcony three feet broad,

whose roof is supported at intervals by columns of white
marble. The prospect \vhich tins closet commands is truly
enchanting. In one of its corners, there is a large scpiare
marble flag, perforated with holes, through which, it is said,
the fi-agrant essences ascended hom the chamber beneath, co
perfume the person of the Sultana. By some antiquarians,
however, this room is supposed to have been the oratory of
the palace, from the inscriptions which decorate it, and also
from the circumstance of the principal window fronting the
east. But, whatever was the real design of the present
apartment, the effect of its mosaic pavement is very rich :
the gold, Ijlack, scarlet, green, and blue colours, are admi-
rably combined.

PLATE L.

MOSAIC ORNAMENT IN THE NORTH SIDE OF THE LIONs"' COURT.

PLATE LL

MOSAIC ORNAMENT IN THE SOUTH SIDE OF THE LiONs' COURT.

These mosaics are in the jambs of recesses on the north and
south sides of the Lions' Court : their effect is extremely
beautiful. The colours are bkick, blue, gold, green, scarlet,
and white.

PLATE LIL

MOSAIC IN DADO OF THE HALL OF THE TWO SISTERS.

The characters on the shields, introduced in this plate, are
the often repeated inscription, " There is no Conqueror bid
God.'' The colours are gold, black, blue, scarlet, and green.

PLATE LIII.

MOSAIC IN DADO OF THE DOOR OF THE HALL OF THE TWO SISTERS.

PLATE LIV.

MOSAIC IN DADO OF RECESS IN THE HALL OF THE TWO SISTERS.

Gold, white, black, purple, blue, and green, are here inter-
mixed in gorgeous beauty : the appearance of these mosaics
is truly magnificent.

PLATE LV.

MOSAIC IN THE HALL OF THE ABENCERRAGES.

A DESCRIPTION OF THE ALHAMRA AT GRANADA.

PLATE LVI.

MOSAIC IN DADO OF THE GOLDEN SALOON, OR HALL OF AMBASSADORS.

PLATES LVIL and LVIIL

MOSAICS IN DADO OF WINDOW IN THE GOLDEN SALOON.

The ornament round the mosaic in Plate LVIII. is in stucco,
the colours are gold and green on a black ground ; and pro-
duce a neat elFect, when contrasted with the rich and
variegated display of the other mosaics in this splendid
apartment.

PLATE LIX.

MOSAIC IN DADO OF BALCONY IN THE GOLDEN SALOON.

PLATE LX.

CEILING OF GALLERY IN THE GOLDEN SALOON.

PLATE LXL

MOSAIC IN DADO OF WINDOW, IN THE NORTH SIDE OF THE

GOLDEN SALOON.

PLATE LXIL

MOSAIC IN DADO OF THE EAST SIDE OF THE TOWER OF COMARES.

The prevailing colour of this mosaic is green, intermixed
with yellow or gold, blue, white, and black. For an account
of the Tower of Comares, see Plate XII. fig. 13, page 8,
supra.

PLATE LXIIL

MOSAIC IN PORTICO OF THE GENERALIFE.

The royal villa of Al Generalife, or Generaliffe, as it is very
frequently written, is delineated in Plates LXXXIX. to
XCV. infra: this mosaic is introduced here, in order to
bring together the various specimens of Arabian skill in the
mosaic art. It is not too much to affirm that, for variety of
combination and delicacy of tints, they are fully equal, if not
superior, to any Roman mosaics which have come down to
our times. The stars, in our present engraving, are alter-
nately scarlet and yellow, and scarlet and black ; and the
hexagons are white, the intermediate spaces being gold,
black, green, blue, and white. The stucco ornament, which
sorrounds this mosaic, is gold and green, on a black ground.

PLATE LXIV.

A MOSAIC DADO, FROM A FRAGMENT IN THE ALHAMRA.

It is black and white ; the effect, though simple, is uncom-
monly striking.

PLATE LXV.

VARIOUS MOSAICS, FROM THE ALHAMRA.

The prevailing colours in these mosaics, which are collected
from different parts of the Alhamra, are gold, blue, white,
and black. The border in the lower part of the plate, is
copied from a dado in the south side of the Golden Saloon.

PLATE LXVL

AN ARABIAN ORNAMENT AT THE ENTRANCE OF THE TOWER

OF COMARES.

The ground of the letters, in this plate, is blue ; the orna-
ment in the circle is also blue, and the principal lines are
gold. This ornament occurs in the side of the door at the
entrance of the tower abovementioned. The translations of
the inscriptions are as follow : on the left at the top, and on
the right hand, at the bottom of this plate, ^ — " T'he Kingdom
is God's,'' on the right hand, at the top, — " "the Power is
God's." And on the left hand, at the bottom, — " Durability
is God's."

PLATE LXVn.

ORNAMENT IN THE WALL AT THE ENTRANCE OF THE TOWER

OF COMARES.

The ground is light blue ; the foliage, green ; and the broad
foliage, gold. The effect of the whole is superb.

PLATE LXVIIL

ORNAMENT IN THE SIDE OF DOORWAY, AT THE ENTRANCE OF THE

TOWER OF COMARES.

PLATE LXIX.

PANNEL ORNAMENT IN THE SIDE OF DOORWAY, AT THE ENTRANCE

OF THE TOWER OF COMARES.

The ground of these ornaments is light blue in the broad
parts, and red in the narrow parts. The inscriptions in
Cufic characters are, " Glory to our Lord the Sultan, Abu
Abdillah.

A DESCRIPTION OF THE

ALHAMRA AT GRANADA.

PLATE LXX.

A CEILING IN OUTLINE, IN THE TOWER OF COMARES.

The wonderful combinations of the Arabian artists are here
exhibited to great advantage : the inscriptions around the
ceihng are the same which present themselves in other parts
of the edifice, times without number : the circular ornaments
disposed around the ceihng, are white upon a blue ground.

PLATE LXXL

AN ARABIAN ORNAMENT IN THE TOWER OF COMARES.

The dark shaded parts in this ornament are red ; those marked
thus 1 1 1 1 are red and white ; the rest is white upon a light
blue ground ; and the effect of the whole is truly beautiful.

PLATE LXXII.

ORNAMENT IN THE GOLDEN SALOON, OR HALL OF AMBASSADORS.

This ornament occurs on the wall of the Golden Saloon;
the ground of the inscriptions, which have already been re-
peatedly given, is light blue ; some parts of the ornament are
gilt, and others are coloured with vermillion.

PLATES LXXin. AND LXXIV.

ORNAMENTS IN THE WALL OF TWO WINDOWS, IN THE NORTH FRONT

OF THE GOLDEN SALOON.

PLATES LXXV. LXXVL and LXXVIL

ORNAMENTS IN THE SIDES OF WINDOWS, IN THE GOLDEN SALOON.

All these ornaments are gold, upon a light blue ground.

PLATE LXXVIIL

A PANNEL ORNAMENT AND ARABESQUE IN THE ALHAMRA.

Fig. 1. Is a pannel ornament, from the Golden Saloon, similar in execution to those

dehneated in the immediately preceding plates.
Fig. 2. Is an elegant arabesque, copied from the side of a square fountain, placed

against a wall in the Alhamra near the Torre de la Velha (see Plate XI. fig. 5).

The animals are lions, fawns, and badgers, executed in stucco, and in a style

highly honourable to the Arabian artist.

PLATE LXXIX.

A PANNEL ORNAMENT AND INSCRIPTIONS IN THE ALHAMRA.

Fig. I Is one half of a pannel on the side of a door in the Court and Fountain of
Lions.

Fio-. 2. Is an inscription of very frequent occurrence in this edifice. The import of

the middle compartment is : " Glory to our Lord the Sultan Ahu Ahdillah,
son of our Lord the Sultan, Ahu-l-Hujjdj.'' The translation of the compart-
ment at each end is, " And there is no Conqueror hit God."

Fig. 3. Is an inscription, from the wall in the first court of the Moorish palace ; the
ground is white, and the letters are black. The -translation of the centi al com-
partment is, " P7-osperity and power, and splendid victory to our Lord Ahu
Ahdillah, commander of the Moslems." The sentence at each end is, " And
there is no Conqueror hut God."

Fig. 4. Is an inscription in the window in the middle of the Golden Saloon : the trans-
lation of it is as follows.

" There is no God but God, the Sovereign, the True, the Manifest. Mu-
hammad is the just, the faithful, messenger of God. T flee to God for protection
from Satan, the pelted with stones. In the name of God, the niei-ciful, the
forgiving : there is no God but He, the living, the eternal : sleep nor slumber
seizeth Him. To Him (belongeth) whatever is in the heavens, and whatever
is in the earth : who is there who shall intercede with Him except by His
permission ? He knoweth what is before them and what is behind them ; and
they comprehend not of His wisdom, except what He pleaseth : He hath ex-
tended His throne, the heavens and the earth ; the protection of which incom-
modeth Him not : and, he is the exalted, the great ! There is no forcing in
the faith : truly, righteousness is distinguished from error. He, therefore, who
disbelieveth in (the idol) Tagut, and beheveth in God, hath taken hold of a
sure handle, which cannot be broken. God heareth, knoweth, The truth of
God."

This inscription consists of various detached sentences and verses from the
Koran ; so that, notwithstanding part of it is obliterated, as expressed in our
engraving, the deficiency is supplied by referring to that book. The foliage in
the centre of this inscription is very elegant.

PLATE LXXX.

CUFIC INSCRIPTIONS IN THE GOLDEN SALOON, OR HALL

OF AMBASSADORS.

Translation of these Inscriptions.
In the centre is the common motto of the edifice — " And
there is no Conqueror but God.'' It is in letters about sixteen
inches high, in the frieze over the upper windows in the
Golden Saloon. The letters are white ; the ornament, light
blue ; and the back ground is vermillion. The foliage is
that of the Tribulus terrestris L. or small caltrops, a plant
indigenous in Spain ; and the effect of the whole is very rich
and beautiful. The inscription at the right hand extremity
of the plate is—" Praise to God for the blessing of Islamism!''
That, on the end to the left, is — " Praise to God alone —
Praise to God!''

The hues at the top and bottom of the plate, consist of six
verses, forming the poem which surrounded the throne of the
empire in the Golden Saloon. For a translation of this
poem, see the " History of the Mahometan Empire in Spain,"
Appendix, No. 10.

PLATE LXXXI.

CUFIC INSCRIPTIONS, AND ORNAMENT, IN THE GOLDEN SALOON.

The ornament in the centre, is of a similar description with
some of those delineated in the preceding plates : the trans-
lations of the inscriptions are as follow.

At the top, on the left hand^ — " The power (belongs) to
God." The inscription at the top, on the right hand, is

A DESCRIPTION OF THE ALHAMRA AT GRANADA.

doubtful, and is perhaps to be read different ways, " To Him,"
that is, to God.

At the bottom, on the left hand side, — " Glory to our-
Lord the Sultan Abu Abdillah Alghani Billah!'' And at
the bottom, on the right hand side, is—" God is the best pro-
tection: and He is the Merciful^ the Forgiving. God, the
Almighty, hath truly said,''

PLATE LXXXII.

CUFIC INSCRIPTIONS IN THE GOLDEN SALOON.

Translations.

On the lower edge' of the first scroll,-" 0 God, Thine the
praise for ever! 0 God, and Thine the thanks for ever!'" On
the upper and lower edge of the second scroll, regarding it on
either side, may be read alike, " 0 God, Thine the praise (for
ever, 0 God!)'' There is, however, some doubt as to the
correctness of the words included in the parenthesis in this
second scroll.

On the lower edge* of the third or last scroll, — " Praise
to God for the blessing of Islamism /"

PLATE LXXXIII

THE FIRST SIX VERSES OF THE INSCRIPTION ON THE BASON OF THE

FOUNTAIN OF LIONS.

PLATE LXXXIV.

THE LAST SIX VERSES OF THE INSCRIPTION ON THE BASON OF THE

FOUNTAIN OF LIONS.

For a view of the Bason of the Lions' Fountain, see Plates
XXXIV, and XXXV. ; and for its description see pages 12,
13, supra. For an entire translation of these inscriptions, see
the " History of the Mahometan Empire in Spain," Appendix,
No. 2, page v. The characters of these, as well as of the
following incriptions, are Cufic, and of the most elegant
forms.

PLATE LXXXV.

CUFIC INSCRIPTIONS IN THE TOWER OF COMARES.

The first four Hues in this plate are the third, fourth, fifth,
and sixth verses of the Arabian poem ; which is given in the
" History of the Mahometan Empire in Spain," Appendix,
No. 11, page xiii. The inscription itself occurs on the south
side of the Golden Saloon, or Hall of Ambassadors. The

* It seems probable, that the flourishes on the upper edges of these scrolls, like that of the
middle one, are intended for words : but, if such be their meaning, no idea has yet been formed
of the characters represented.

last three lines are the second, third, and sixth verses of the
poem. No. 13 in the same Appendix, page xvi. They have
been copied from the space over the resemblances of two
windows in an alcove on the outside of the Tower of
Comares.

PLATE LXXXVL

PANNEL ORNAMENTS AND INSCRIPTIONS IN THE HALL OF THE

TWO SISTERS.

Figures 1. and 2. are pannel ornameuts, from the Sala de dos Hermanas, or Hall of
the Two Sisters, of which a view is given in Plate XXXVIII. page 13, supra.

Figures 3, 4, and 5, are respectively the sixth, tenth, and eleventh verses of the poem
No. 12, in the Appendix above referred to, page xiv. They are copied from
three of the elegant circles which adorn the Hall of the Two Sisters.

PLATE LXXXVII.

MISCELLANEOUS PARTS AND ORNAMENTS IN THE ALHAMRA.

These are copied from various parts of this noble palace,
and will convey to the eye a better idea of the minute and
diversified elegance which characterizes its almost innu-
merable ornaments. The line of Arabian ciphers is particu-
larly interesting, as exhibiting the primitive forms of those
figures, for which we are indebted to the Spanish Arabs.

PLATE LXXXVIII.

CORNICES, CAPITALS, AND COLUMNS, IN THE ALHAMRA.

Figures 1, 3, 4, 5, &c. in this plate, are fragments of capitals and columns, &c. from the
Pateo de Leones, or Lions' Fountain, which is delineated in Plates XXXIII.
to XXXVII. supra.

Fig. 2. Is the splendid cornice and frieze of the Loggia of the GenerahfFe, which ap-
pears in Plate XCII. infra. The effect of this is very rich. The line of Arabic
characters is black, on a white ground; the dentellated line beneath that,
is black and white ; the space below is red, and the line of cords is black and
white ; the foliage is grey, relieved with white, on a red ground, and the middle
line is white. Below that is a line of black cord, on a white ground, which is
followed by a line of red ornaments on a white ground. Rich stucco-work
succeeds to this, and below it are the characters of the first line repeated, con-
sisting- of the favourite motto—" There is no Conqueror but God." The effect
of the whole is very rich.

Fig. 6. Is a canopy over a door in the Lions' Court.

Fig. 7- Is a beautiful mosaic column, that supports the circular roof in the interior of
the Zancarron, or Sanctuary of the Koran ; the gate of which is delineated in
Plate VI. supra. The colours are black, white, and a faint yellow or gold.
The effect is grand.

Fig. 8. The words TATO m5ta (Tanto Monta), represented in this figure, are very
frequently repeated on stucco, in relief, in the Pateo de Leones, or Lions'
Fountain, which is supposed to have been repaired in the time of Ferdinand
and Isabella. These words may be interpreted equality ; for the latter anxiously
maintained, that her power in the exercise of the royal authority was equal to
that of Ferdinand. Perhaps it is not saying too much of that princess, that
she deserved it ; and that her wisdom and courage confirmed the right which
she derived from her birth.

A DESCRIPTION OF THE

ALHAMRA AT GRANADA.

PLATE LXXXIX.

A VIEW OF THE ROYAL VILLA OF GENERALIFFE AT GRANADA.

The way from the Alhamra to the GeneralifFe is by a very
low gate, which favoured the escape of Abu Abdillah, the
last Moorish sovereign, on the capture of Granada by Ferdi-
nand, misnamed the Catholic. The signification of the Arabic
term Al Generalife, or Generaliffe, as it is very frequently
written, is, the House of Love or of Pleasure, a name very
appropriately given to this charming edifice. It is situated
on the side of a lofty mountain opposite to the Alhamra
(whence our view is taken), — a spot favoured by nature and
improved by art. Concerning the precise time when this
villa was founded, historians and antiquarians are by no
means agreed : but it was probably erected about the seventh
century of the Hijra, corresponding with the tJiirteenth cen-
tury of the Christian iEra. The situation of the Generahffe
is healthy, and the prospect it commands, is truly delightful.
The distribution of the edifice, and of the gardens annexed
to it, is admirably adapted to the shelving ground : externally,
nothing more than mere convenience appears to have been
considered : but, internally, the decorations are in no respect
inferior to those of the Alhamra. For additional particulars
relative to the architecture, &:c. of the Geneialiffe, the reader
is referred to the " History of the Mahometan Empire in
Spaing page 199.

PLATE XC.

A GROUND PLAN OF THE GENERALIFFE AT GRANADA.
Explanation of the Letters of Reference.

A. Advanced Parts.

B. The Inner Gallery, commanding the view of the gardens, which is given in Plate XCV.

C. C. C. C. C. C. Ten-aces and Aqueducts, built by the Arabs in the open air.

D. D. D. D. The surrounding country.

PLATE XCL

ELEVATION AND GROUND PLAN OF THE PORTICO OF THE GENERALIFFE.

PLATE XCIL

A FRONT VIEW OF THE PORTICO OF THE GENERALIFFE.

These two plates exhibit a correct view of the symmetry
which marks the Portico of the Generaliffe. The inscrip-
tion, which runs along the top, is the same which has already
occurred so frequently, viz. " jlnd there is no Conqueror but
God."" The columns are of white marble : all the ornamental
work over the arches is composed of limestone, one foot and
three quarters thick, and is hollow in the inside, which
makes the perforated parts of a deep black. The five circular
headed windows in the middle, are also hollow. The mosaic

at the bottom, reaches about four feet from the ground,
and has a rich eflFect : it is delineated on a large scale in
Plate LXIII. supra. The colours, which are black, blue,
gold, scarlet, and green, have a very rich effect. There are
thirty-three steps to the top of the floor over this front : the
mezzanino over it, is eight feet two inches in height. It is
probable, that this front was formerly like that of the Arcade,
with two stones and a mezzanino, in the Pateo del Agua, of
which we have given engravings in Plates XXIX. XXX. and
XXXI. supra. Just before the author drew the present view,
the whole had been luhite washed! — a barbarous modern im-
provement, which has completely destroyed the sharpness of
the ornaments.

PLATE XCIII.

A TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFFE.

The interior structure of the pile is here seen to considerable
advantage. In addition to the observations already made, it
may be remarked, that the wood-work and stucco decorations,
are exactly of the same design and workmanship as those of
the Alhamra. The wood-work is made of nogal^ or Spanish
chestnut : the decay of three hundred years is not visible in
it. It is probable that the Moors coated their wood with a
composition, obnoxious to insects : t]ie author was informed
at Granada, that the composition employed was colle and
Almaqu, that is, size or glue, and a reddish earth resembhng
the Etruscan colour, which is exactly the colour of the plain
part of the wood. The black lines, which ornament the
wood- work, as represented in this and other plates descriptive
of the Generahffe, appear to have been traced with a hot
iron : it is not unlikely, that the Moors charred all the wood
they made use of, in order to render it more durable. The
larger mosaics, which appear in the lower part of tliis plate,
are similar to that represented in Plate XLIX. supra.

PLATE XCIV.

A CEILING IN THE GENERALIFFE.

This is a chefd'oeuvre of Arabian workmanship; as the
observations on the preceding engraving are applicable to
this plate, a careful inspection of it will convey a better idea
ol the dehcacy and taste of the artist, than any additional
description can possibly offer.

PLATE XCV.

A PERSPECTIVE VIEW OF THE GARDEN OF THE GENERALIFFE.

This view is drawn from the spot marked B. in Plate XC.
at the bottom of the canal which waters the garden. It
conveys an accurate idea of the place, of the beauty of its

A DESCRIPTION OF THE

ALHAMRA AT GRANADA.

2,1

architecture, and of the fertihty of its vegetation. Nothing
can be conceived, better adapted than the gardens of the
Generaliffe, to promote the enjoyment of all those refined
gallantries and luxuries, for which the Moors were so
celebrated.

The gardens are planted in the Chinese style ; cypress
trees appear in various parts ; and many of them, venerable
for their age, now afford to the Christian inhabitants of
Spain that shelter which they formerly offered to its Moorish
sovereigns. A river, the same which supplies the Alhamra
with water, runs through these gardens : on each side of its
banks trees are planted at intervals, whose tops are joined
like arches. In the middle of the gardens is a lofty circular
summer-house formed of canes, nearly thirty feet in height,
and somewhat resembling a dome. The excellence of these
covered ways depends upon their being lofty and spacious.
In all the Moorish bowers, which the author has seen, the
same rule is observed : they are lofty and spacious, while
ours are low and narrow. These broad bowers have a very
noble effect : that of the Generaliffe, with the water, is in-
deed enchanting; it imposes upon the sight, making the
space appear longer than it really is. At the side of the
gardens is planted the blooming laurel, a tree to which the
Moors were extremely partial, while box fences inclose beds
of roses. The whole is in perpetual bloom, as most of the
trees are evergreens, sheltered on three sides, and exposed to
a southern aspect.

The prospect from the windows, which are seen at the end
of the Garden in our plate, is truly sublime. Beneath, flows

the river Darro ; at the foot of the Generaliffe rises the
quarter of the city of Granada, called the Albayzin ; and,
further on, appears the beautiful, extensive, and fertile f^ega,
or Plain of Granada, encircled by clusters of dusky
mountains.

PLATE XCVI.

ELEVATION OF THE CASA DE CARBON, OR HOUSE OF CHARCOAL,

AT GRANADA.

PLATE XCVn.

PLAN OF THE CASA DE CARBON.

The Casa de Carbon, of which these two engravings present
the elevation and plan, as its name imports, appears to have
been a warehouse or mart for the sale of charcoal. It is si-
tuated in the city of Granada, and offers a favourable speci-
men of the architecture of the private Moorish edifices : on
this account, it may form an appropriate conclusion to the
present work, in which the author has endeavoured to draw
aside the veil of Oriental secrecy, and admit the English
reader into all the privacies of Arabian life. The beloved
motto of the Moslems — " And there is no Conqueror but
God " — is introduced wherever the artist could possibly find
a place for it.

THE END.

JUST PUBLISHED,

Elegantly printed in one Volume Quarto, with a Map shewing the principal Conquests
of the Arabs under theKhalifs or Successors of Mahomet; Price 1/. 16*. in boards,

THE

HISTORY

OF THE

MAHOMETAN EMPIRE IN SPAIN:

CONTAINING

A GENERAL HISTORY OF THE ARABS,

THEIR INSTITUTIONS, CONQUESTS, LITERATURE, ARTS, SCIENCES,

AND MANNERS,

TO TPIE EXPULSION OF THE MOORS.

DESIGNED AS

AN INTRODUCTION

THE ARABIAN ANTIQUITIES OF SPAIN,

BY JAMES CAVANAH MURPHY,

ARCHITECT.

PRINTED FOR T. CADELL AND W. DA VIES, STRAND, LONDON.

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FXEVATIOW OF THE GATE OF THE BANCTtJART OF THE KORAN.

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J. C. Murphy del.

A riELlNG IN THE GENEKAIJFFE.

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